Fascist minimalism meets operatic carnage—Verdi's cursed lovers never looked this brutal.
This performance of 2014 can be considered as a reference on account of the quality of the vocal material involved and because the daring staging of Austrian Martin Kušej is rich in meaning within the context of the global challenges of today. He proposes a reflection on war, on vengeance and also on the mark of guilt which ends with the joie de vivre and the expansion of passions. In the intimacy of Calatrava, his is a post-Bauhaus picture of a Fascist neatness which then contrasts with the chaos of battles, the abyss of misery and the sexual stampede after triumph or failure. In this context, religion, instead of being a consolation is both an escape and the tomb of humanity; the chapel wherein Leonora hides is made out of huge crosses and in one of them, just for a moment, Don Álvaro seems crucified by his fate.
Acting
Kaufmann and Harteros at absolute vocal peak.
Production
Cross-shaped chapel as tomb—staging that bruises.
Direction
Kušej turns Verdi into contemporary war nightmare.
Director
Martin Kušej
Trivia, insights & behind the scenes
Kušej's Fascist aesthetic deliberately echoes Austria's far-right resurgence, making this staging a political act as much as musical interpretation.
The massive cross set was so physically demanding that Kaufmann developed back issues during the run—method suffering for Alvaro's cosmic punishment.
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