Mozart - Apollo et Hyacinthus / Die Schuldigkeit des Ersten Gebots

Because of the dreadful excesses of ugly - and by now, in fact, wholly conventional - Regie theater which undermined the M/22 versions of "Nozze" and "Cosi," I'd rashly assumed none of the other operas in the series would likely be worth viewing. I'm happy to report having been completely mistaken in this assumption. The other reviewers here who've lauded "Apollo and Hyacinthus" are absolutely on target. This astonishing work by the child Mozart has been given a production that could scarcely be bettered, a sort of cross between an Inigo Jones-like baroque court masque and a stylized opera seria. Costumes and sets are at once odd but beautiful. The voices of the student singers are wonderfully fresh and accurate througout the perilous coloratura required of them. Maximilian Kiener as King Oebalus and Christiane Karg as his daughter Melia in particular stand out. In their late duet "Natus cadit," the music swells to a sudden loveliness which makes one wonder why Salieri, in the unlikely possibility that he did poison Mozart out of jealousy, would have waited so long to perform the dastardly deed. At 11, the kid was already intolerably talented.If most of the other entries in M/22 had done the composer such service as this one, instead of allowing hack stage directors thinking themselves cutting edge to maim Mozart in the manner of destructive children, it would surely have been a series to remember.

Amazing what this genius did at age 11. But on a bell shaped curve comparing all of his operas and those after him it is mediocre with moments of brilliance. They look like and feel like high school operas. The gem here is soprano Karg. The only reason they survived history is they are Mozart. No major opera house I suspect will ever stage these.

The DVD of "Apollo et Hyacinthus" is excellent, with fine singing and first-class inventive staging and marvelous costumes by John Dew, aspects well covered by the other laudatory reviews, and to which I would not have much to add. "Apollo" alone deserves an unmitigated 5-star rating.Note that I have already reviewed separately the Philips/Hager CD version of "Apollo" with the incomparable Arleen Auger as Melia (a version not to miss).But something went wrong with John Dew's DVD interpretation of "Schuldigkeit", on which I am focusing here exclusively, to air my serious reservations. As, to my mind, it does not deserve more than a 3-star rating, this brings the average rating for the whole box of the two DVDS to a 4-star.Note that I have recently reviewed the Philips/Neville Marriner CD version, Die Schuldigkeit Des Ersten Gebots (of May 1988 in Stuttgart) also included in the Complete Mozart Edition (1991, 2000, 2006).This is the very first opera by Mozart, "The Obligation of the First Commandment", written at age 11 in Salzburg in 1767, on his return from his 3 1/2 year "Grand Tour" of Europe.I presented a pretty exhaustive review of the various aspects of the opera itself (libretto and music), with a detailed synopsis and comments of each aria, including many musical comments by Hermann Abert, the top Mozart expert, from his masterpiece, W.A. MOZART (1919, transl. 2007, ed. Cliff Eisen). All this applies as well to this DVD version -- no need to repeat it here.Note that you can hear the Philips/Neville Marriner CD on YouTube, but shorn of its recitatives, which is a pity, and an absurdity, because they are musically important, as Hermann Abert emphasizes. But the sinfonia and all the 8 numbers are presented in the YouTube posting, enough to give you a good idea of the music and the fabulous quality of the cast of world-class singers recruited by Marriner.In addition, a few clips of the M-22 DVD are on YouTube, enough to give you an idea of the staging, costumes, and the flavor of the whole production.In a nutshell, this "Schuldigkeit" is a highly interesting, and very unusual opera, with beautiful Mozart music. And it is not easy to stage in order to excite modern audiences. Deutsche Grammophon claims its box of 2 DVDs is a first for both operas, which makes it well worth adding to your collection.THE LIBRETTO OF SCHULDIGKEIT IS ABOUT THE CONTEST FOR A HUMAN SOUL BETWEEN TWO RIVALS: CHRISTGEIST AND WELTGEISTAn excellent libretto is presented online by "Classicalopera" in two columns: the German text and a very recent English translation by Ian Page (2013). This is in the context of Ian Page's own recording on the Signum label Die Schuldigkeit des ersten Gebots, as he is joining the small but passionate band of lovers of Mozart's early operas: Mario Rossi, Leopold Hager, Nikolaus Harnoncourt, Jean-Pierre Ponnelle, Neville Marriner, John Pritchard, Peter Schreier, Josef Wallnig, John Dew, and more.This opera is not about preaching, it is about a contest between two rivals competing for the soul of one common mortal, an average Joe named "Christian".1) "Christgeist": "Christ Spirit", translated in the English libretto as "Christianity", which I find a very static name, leaving unclear how this allegory can motivate human souls. In German, "Geist", or Spirit, better preserves the idea of a spiritual force. Using "geist" in English has become increasingly acceptable (see Wikipedia article). Christgeist is in the business of making converts.2) "Weltgeist": "Worldly Spirit". The translation as "Worldliness" again is too abstract as an allegory, losing the dynamic meaning of "geist". Traditionally, seductive Worldly Spirit should be a "she". Cf Goethe's Faust. She is the most fascinating character (and Mozart gives her the most beautiful music and challenging coloratura).The prospect is called "Christian", although he is not yet a religious christian in the story, only a target. He is described as "tepid", or "hesitant", but in fact he is not even a fence-sitter, because he is not concerned in the least (yet) about "salvation", of which he has no inkling.He is a naive, simple, happy-go-lucky soul, subjected to two opposing influences. However, in this Part I of the trilogy, Christian is not really "torn" between the two sides. He is rather uninvolved at the beginning, and perplexed later on when Christgeist begins to upset his innocence with tormenting rhetoric, and Worldly Spirit jumps into the act to save Christian's sanity.So besides Mozart's great music, this is an interesting libretto, insofar as it illustrates the method used by Christianity to spread its hold on unlearned populations through the Middle Ages and how it operated to make new converts by promising "salvation".WHY NO IMMEDIATE ATTRACTION TO GOD'S COMMANDMENTS? THE MYSTERY OF FREE WILLWhat is fascinating is the graphic description of how "Christgeist" strives to make an impact on the unconcerned soul of this prospect "Christian", in order to wake him up to the conscience and realization that, in order to secure "salvation", he "must" obey the First Commandment, "Love God with all thy soul, etc.".The real conundrum facing Christgeist (called "Christianity") is thus: Why don't men spontaneously show an attraction to God, why don't they immediately feel his appeal, but have to be persuaded, induced, to learn the First Commandment and follow Christ, or at least the leadership of Christgeist?Christgeist is baffled, because he assumes that men "should" hear the "call of nature and reason" leading them directly to God. But, spontaneously, this call IS NOT WORKING. Why does Christian need to be exhorted and motivated to gain salvation? This "why?" remains a MYSTERY (a bug in the original creation plan) not discussed in the libretto, it is simply attributed to the counter influence of Weltgeist.And so Christgeist has to use an expedient, a tool, to wake up mortal Christian who is still ASLEEP, and induce him to accept DIE SCHULDIGKEIT DES ERSTEN GEBOTS, the "obligation of the First Commandment" and thus secure his "salvation".Mercy, an ally of Christgeist, explains the reason for the "mystery": Men are responsible for their choice. They have FREE WILL, and so they can ignore the duty of obeying the First Commandment, even though it is ordained by "nature" and "reason". And, unfortunately, mortals are pretty easily lured by the pleasures offered by Worldly Spirit. Thus, they ignore death, the Last Judgment, and the horrors of what's awaiting them --the fires of Hell.THE FEAR OF HELL AND ITS FIRE IS THE MAJOR TOOL OF CHRISTIANITY TO SECURE "SALVATION" OF SOULSChristgeist, (i.e. "Christianity"), is looking for a way to palliate this human weakness and restore the assumed "natural" attraction to God that is not spontaneously working. He has a psychological tool, and he's going to use it.To win the prize of this new soul, which is still uncommitted, disguise and deceit are needed, but this deceit is not used by Worldly Spirit, but by Christianity himself.Worldly Spirit comes on straight, honestly showing her goods and her temptations -- life, joy, pleasures -- which Goethe's Faust will also later encounter (and eagerly accept).It is Christgeist ("Christianity") who plays games: he re-appears in the trappings of a spiritual care-giver, pretending to be a "doctor of souls", and promising to deliver a "cure". But to be effective in this medical role, Christgeist first has to inject into the patient the very disorder, the fear of hell, he claims he can cure, and, thus, to have a chance, he has to start with poisoning poor Christian's soul.That the "doctor of souls" disguise can strike us as phony is not something distinctly sensed by the author of the libretto, but is of course patent to us, observers of Christgeist's devious stratagem.Christgeist, with his two allies, Mercy and Justice, faces the challenge of any new ideology striving to gain traction among a human crowd: how to convince ordinary mortals to believe in the strange Commandments of the new moralistic doctrine, and to follow their prophet.The most direct method is through inspiring FEAR, the fear of not being "saved". Saved from what, then? Mostly saved from the risk of ending up in hell. The FEAR OF HELL AND ITS FIRE is the psychological tool that Christianity is going to use to win over the unconvinced mortal. It is not accurate to call him "tepid", or "hesitant", certainly not before Christgeist starts injecting him with the fear of hell.In the recitative following No. 2 Aria about the wild-roaming lion and the reckless sleeping hunter, Christgeist, (i.e. "Christianity"), explains the method for providing salvation, starting with the line "Es würde des Verstandes Licht":"The light of understanding could soon perhaps appear in all its brightness, and the topsy-turvy mind could soon yield, if the tormenting and horrifying vision of the gaping chasm of Hell should be visible suspended before their eyes (switching to an accompanied recitative) if the HIDEOUS HOWLING from so many mouths were to resound, if one of the damned himself were to RISE UP FROM HIS GRAVE, in order to teach them through his unhappy fall the solemn duty to maintain the great First Commandment, the zeal, the devotion, the knowledge of salvation."Christgeist has to strongly counteract the natural appeal of Worldly Spirit that the seductive enchantment of her voice makes irresistible. She gets the most beautiful music from Mozart, and she must be sung by a superbly beautiful voice: Inga Nielsen's crystal-like voice in Philips/Marriner's CD, and Christiane Karg's powerful and flexible soprano in the M-22 DVD.Christgeist will awaken man (i.e. Christian) to his "Obligation to obey the First Commandment" and bring him, willy-nilly, towards his "salvation" by giving him an advance taste of the horrors of the fires of Hell. Mercy, and then Justice, the two allies of Christgeist agree.AT THE END OF THE OPERA, CHRISTIAN IS STILL AN UNCOMMITTED, FLOATING PROSPECT.Remarkably, the author of this libretto understands very well how to present the dilemma of the story in a credibly dramatic fashion which makes for interesting staging, and this, by not pre-judging the conclusion. He knows he has to keep the suspense open for a veritable drama to become believable.And it is important to note that, at the end of Mozart's opera, the conversion has not happened, and Weltgeist, ("Worldly Spirit"), seems, for the moment, the effective winner, thus setting the stage for further dramatic developments.For this opera was but Part I of a trilogy, with two more operas to follow: Part II (written by Michael Haydn) and Part III (written by Anton Cajetan Adlgasser). These other two parts have been lost. Part II was a deployment of the competition between the two rivals, and only in Part III does Christgeist win his new convert. Only then does the prospect called "Christian" become an effective christian. But this has not happened in Part I, Mozart's opera, the only Part that we have.One of the backdrops depicts the scene of the damned souls boiling in their cauldron, with 4 busy demons stoking the flames. This is one of the very terrifying images Christianity has been using through the ages to make converts and secure "salvation" of souls.The power of those images on a simple and uneducated populace in the Middle Ages must have been immense, and it was still felt so at the time (1767) the libretto was written. Those images still are efficacious in our modern times on primitive populations. The third World has become the best hunting ground for a surviving Christgeist.In most books on Christianity this practical aspect has not been spotlighted enough, it is the merit of Schuldigkeit to bring this critical stratagem in focus.SOME RESERVATIONS ABOUT TURNING SCHULDIGKEIT FROM AN OPERA "SERIA" INTO "BUFFA"It is indubitable that both the librettist and the Salzburg Archbishop, when he commissioned this opera, conceived the text as serious of meaning, and that Mozart did the same when composing his music. The work was to be, considering the whole context, all-and-out "seria".The challenge in producing Schuldigkeit in the 2006 Salzburg festival was to make this difficult story palatable and accessible to a modern opera audience conditioned by movies, and also to offer tangible entertainment to an audience of festival goers, who expect having a good time in a relaxing hot summer evening.However, at least for a German-speaking audience, the basic conflict between Weltgeist and Christgeist is not far from the classical confrontation of death (and hell) vs. life made popular by Goethe's tragedy of "Faust".For the modern purpose of dealing with a secular audience, it's probably OK to think of turning Schuldigkeit into a comedy, perhaps even a farce, even though neither the librettist, nor Mozart ever thought of it.Until some effective way to stage this opera in the original spirit of seriousness is successfully devised, the comical approach remains a valid option in order to awaken the interest of the world's audience to the intrinsic value of this work.GROSS MISREPRESENTATION OF WORLDLY SPIRIT: SHE IS NOT A DEVIL FROM HELLBut even in a comical style, there's no justification for the gross distortions the director John Dew indulges in to win the applause. To me, the unbearable disappointment and constant turn-off of his production is the misrepresentation of the two contenders: Weltgeist and Christgeist.While Worldly Spirit is going through her list of seductive offers in her sensational No. 4 Aria "Hat der Schöpfer dieses Leben":"The Creator has given us THIS LIFE AND FREE RUN OF THE WORLD, so REJOICE, LAUGH, HAVE FUN, and let dreams be dreams. ENJOY the world, and pursue PLEASURE,"it is highly ironical to see her onstage strutting around like a monster of nightmare, in her green/orange outfit, surrounded by two horrible acolytes, with their orange makeups and red tails -- straight out of some horror movie for children.The gross distortion lies in presenting Weltgeist as a figure of Hell, whereas the libretto projects her as personifying the JOYS AND PLEASURES OF LIFE. Hell is only what comes at the end of life, when the reckoning in the Last Judgment is weighed and assessed, as was explained in Justice's No. 3 aria "Erwache, fauler Knecht":"Wake up, lazy scoundrel, for your severe judgment. There Hell and Death beckon, you must give an exact reckoning of your life to the Lord your God!"It is an aberrant travesty to turn Worldly Spirit into a devil from Hell.The producer John Dew must have thought that a cartoonish representation would be more directly understandable to an ordinary audience who has only a simplified, still medieval, stainless-glass type, notion of what Christianity is about.Of course, the aim is to gain audience acceptance, and the farcical approach could be, when the work is still unknown and grossly undervalued, the most efficient one. Its major beneficial consequence might be of course convincing the world's audiences and opera house managers that Mozart's first opera can be staged as a viable visual entertainment for the public-at-large.There's a secondary benefit as well, in that many opera-goers may become interested in Mozart's music and become tempted to buy the CD version of Philips/Neville Marriner, or of Signum/Ian Page, which would allow them to discover the vibrancy and haunting beauty of Mozart's score.Our serious grievance remains the staging of Weltgeist as a horrifying devil from Hell, a gross misinterpretation of the libretto. It's a pure invention of John Dew that, in fact, destroys the tension inherent to the play.It is unthinkable that prospect Christian could ever become attracted to Worldly Spirit and listen to her seductive spiel, if she appeared to him as a monster devil. Simple-minded as he is, his first instinct would be to run away. Weltgeist's orange make-up is grotesque; her frightening headdress of multiple flames and horns, her inflated green costume, her orange painted face and stockings, and a long orange tail trailing behind, are simply ludicrous. As Pangloss sings in Bernstein's "Candide", " only one word, a simple word," can describe the whole concept: "AB-SURD."And, in the theory that more is better, we get not just one she-devil, but five more of them, cavorting onstage in their extravagantly caricatural red-orange costumes, making terrifying nightmarish faces, and all equipped with a dangling tail.Christiane Karg must be lauded for her brilliance and aplomb in delivering her magnificent No. 4 and No. 6 arias while burdened by the grotesque accouterments of her character. She is breathtakingly versatile and convincing, and, obviously, the star of the lot.CHRISTGEIST IS NOT PRESENTED IN THE LIBRETTO AS A YOUTHFUL, VIGOROUS MONKIn addition, we can raise another (though weaker) objection to John Dew representing Christgeist as a young monk. Christgeist is an active "fisherman of men". He is a preacher, a man of deep knowledge and convictions, an activist roaming the world, gaining access to houses and society, and trying to convert indifferent people to his "Obligation of the First Commandment". Like all great preachers, Christgeist cannot be just a stultified young monk living life as an outsider, immersed in his prayers and adoration of his icons.In her second aria, No.6 "Schildre einen Philosophen", Worldly Spirit describes the appearance of Christgeist, her enemy:"Picture a philosopher with saddened eyes, austere and timid of gesture and of pallid countenance. Now you have conjured an image which resembles him alone."It is obvious that Christgeist is meant to look more like a learned professor of science and philosophy (very close to what Faust is himself supposed of turning into) than the vigorous, healthy monk staged by John Dew.Already in this production, Christgeist looks better and more convincing in his flowing robe and impressive leonine wig of doctor of souls, in which Bernhard Berchtold, with excellent acting and a sonorous voice, delivers his famous No. 7 aria "Manches Übel will zuweilen":"Many a disease sometimes needs a scalpel, scissors and flame before it can be healed by medicine."OTHERWISE, A WONDERFUL STAGING OF THE OPERAChristian is shown as a very believable character. It was an excellent idea to give him a red wig. With neither dark or blond hair, he remains undecided, between both extremes of colors, and the appeal of fun and pleasures weighs more than unexciting devotion.Peter Sonn has only one aria, No. 5,"Jener Donnerworte Kraft":"The power of those words call for my reckoning. I can hear the sound of the last Trumpet."But he holds his own convincingly, and produces a great innocent figure, overwhelmed by the events, and not really aware of what his new adventures really mean. Dew added a nice touch with the appearance offstage of the trombone player as an angel with huge wingsJohn Dew found an ingenious and interesting way to portray Mercy and Justice, who both sing their parts beautifully. Mercy's anachronistic telescope at the very beginning is an amusing idea. Since we are in a spirit of fantasy, everything goes as long as it is entertaining. In the same vein, the scene with the hunter and lion is very well done and vastly amusing.The incessant tomfoolery onstage revolves around nonstop farcical shenanigans: running, falling, pushing, pulling, kicking of legs in the air, pratfalls, and some imaginative mimicry, for instance in the scene of the lion and foolish hunter.The painted curtains in the background are terrific. Their simplified backdrops summarize powerfully the stained-glass mythology of the Christian story.- Ch. 4: Picture of Salzburg town;- ch. 7: Bucolic picture of meadows and cattle, with a Good Shepherd floating on a central cloud over the landscape;- ch. 8: Souls of the damned roasting or boiling in their cauldron of flames, with the fire fuelled by 4 devils;- ch. 9: Christian's room, where Christian is able to continue to sleep whatever pandemonium is going around him;- ch. 15: Hilly landscape, with a tree and a cloud where Virgin Mary and bambino are throning, with rays shining down on a well-dressed boy (Mozart?);- ch. 18: Big cloud with the Virgin and her babe flanked by an ascetic figure and a monk, during the final trio. Behind the balcony, where Mercy and Justice stand, appears a huge triangle radiating rays, with en eye in its center -- perhaps the eye of God, but looking very much like an Masonic Egyptian symbol.JOHN DEW CONCOCTS A DISTORTED ENDINGThe ending of this production is also a gross distortion. In the libretto, the situation is not yet settled in favor of Christgeist at all, as this would destroy the suspense of the opera, which is to last over 2 more Parts.First, John Dew has Christian running off with Weltgeist (as in the libretto).But then John Dew invents some stage action in which Christgeist is able to retrieve Christian from her grip by easily packing her off (catching her by her tail!). Then Dew ends with Christian kneeling and praying with Christgeist, as if all ends best in the best of worlds.But all this contrived ending is NOT IN THE LIBRETTO.In the last recitative, after No. 7 aria, Christian departs, following Worldly Spirit, singing to Christgeist:"Forgive me, my state of well-being demands me to HURRY OFF. If this remedy passes its probation, then I'll repay you WHEN I NEXT SEE YOU." (Which of course will not happen until Part II comes along).And Worldly Spirit, in aparte, adds her own parting words of total distrust:"(Thus I end their discussion, for this doctor seems suspicious to me.)"The two, Christian and Worldly Spirit, are gone for good, and are not to be seen again onstage.Christgeist is dejected by his abject FAILURE, and complains:"Alas! [People] don't hear my doctrine of true virtue, and instead follow my adversary, who cuts short all that is good."Mercy and Justice try to console Christgeist, who becomes realistic. How can he expect a follower of Worldly Spirit to "immediately be ablaze with God's love?" He needs to have patience.Then comes the final No. 8 Terzetto (trio). What Christgeist sings is a cry for help. He implores Mercy and Justice to stand by him in his difficult mission of retrieving souls from perdition."May the radiance of your grace never desert me, so that I CAN GAIN NEW COURAGE. I shall at all times strive and consider how to win dear souls for my Creator; this shall be my task."Christgeist still needs a lot of courage and divine support (supplied by Mercy and Justice) to carry on in Parts II and III with his work, WHICH IS NOT YET DONE.In fact, in this libretto, at the end of Part I, Christian is not even an undecided, or unconvinced prospect. Worldly Spirit has won the initial contest, and Christian is firmly following her.This is NECESSARY TO KEEP THE SUSPENSE ALIVE FOR THE SEQUEL, and to smoothly lead into Part II, where the conflict between Christgeist and Weltgeist must intensify. Only in Part III will Christgeist score success in the challenge of gaining Christian's soul.However, John Dew could not bear leaving the end so open, and he decided to telescope the ending of Part III right here at the conclusion of Part I. This improvised ending by John Dew is, of course, not reflected in Mozart's music, which follows the libretto and simply expresses the dejection and hope of Christgeist, and the vow of support from Mercy and Justice.IT'S TOO HARD TO APPRECIATE MOZART'S MUSIC WHILE PAYING ATTENTION TO THE COMPLEX ACTIVITY ONSTAGEWatching Joseph Wallning conducting his orchestra is exciting. But the antics on the stage distract too much from the music.Nikolaus Harnoncourt also conducted "Schuldigkeit" in Vienna, at the Theater an der Wien, in April 2006. The production was created by his son, Philipp Harnoncout. The formula was again to turn the "seria" opera into a farce ("buffa"). The critics complained, as in the case of the 2006 Salzburg version, that the comic shenanigans made it very hard to follow and appreciate Mozart's music.Harnoncourt's interpretation must have been very exciting, and I would have loved to compare it with Neville Marriner's. I hope that this Harnoncourt performance has been filmed and recorded, and perhaps may be published some day.THE PHILIPS/MARRINER RECORDING IS STILL MUSICALLY SUPERIOROne reviewer claimed that the musical version of Schuldigkeit in the Salzburg M-22 DVD is "the best available recorded performance". I am far from being convinced.The impression created in the live atmosphere of a joyous festival cannot be compared to the impression received while watching a DVD or listening to a recording in the more sedate atmosphere of home.I have watched and listened to Joseph Wallnig's M-22 DVD many times, at least 5 or 6, before writing anything about it. There's no doubt that it is hard to focus on the music alone while watching the Salzburg farce. And I have listened far more times to the Philips/Marriner CD interpretation Die Schuldigkeit Des Ersten Gebots, probably more than 50 times, and am still listening to it nearly every day, as I simply find it entrancing. Say I am in love with "Music by (young) Mozart".Right after watching this M-22 DVD, I immediately switch to Neville Marriner's CD, to refresh my memory of the purity of the music. Good as the M-22 DVD is, I must admit, from my listening experience, there's no comparison. The Philips/Marriner studio recording is simply far more ravishing as a musical listen than the M-22 DVD. The singers in this DVD do produce excellent, solid, praise-worthy performances, but they cannot be compared to the world-class voices recruited by Marriner for his Philips recording. Christiane Karg can never make me forget Inga Nielsen's voice, and Bernhard Berchtold cannot replace Aldo Baldin's golden timbre. Yes, even more so in opera voices, "comparisons are odious".Still, not a shadow of a doubt about it: I find the Philips/Marriner CD recording of "Schuldigkeit" so far to be the best musical interpretation, and my own reference performance.That young Mozart at 11 was able to tackle this challenging subject with such brio and perfection is beyond comprehension. It is the truly marvelous miracle aspect of this story, something that his father Leopold was the only one to appreciate in full.In conclusion, this DVD offers well done staging and robust, high-quality singing of "Schuldigkeit", but it only deserves a 3-star rating on account of the grossly unjustified distortion of the libretto in the grotesque, repulsive, and absurd representation of Weltgeist as a figure from Hell with a retinue of monstrous devils, when she is supposed to incarnate the joys and pleasures of living, and a radical distortion of the ending. Goethe's Faust would agree.The overall 4-star rating of the box is due to the delightful 5-star performance of "Apollo".ROO BOOKAROOSept. 14, 2014

Today is Mozart's 260th birthday and it is a great way to celebrate, listening to these two almost unknown stage works. After reading some of the other reviews, this will be mercifully brief :-)I really enjoyed these works. Risking a trite cliche, they don't sound like they were written by a child, even a child Mozart. They sound like a fully educated and experienced adult, pre-Mozart composer. I would have guessed Gluck, and that's fine with me, I actually sometimes prefer Gluck to Mozart!I am almost as amazed at this production as I am of the music. It looks like a time machine has transported this production straight out of the 1760s. We have painted backgrounds, coupled with elaborate costumes, angels with wings and halos ... almost nothing that would betray this being a modern production. Yes, they use electric lights, and yes, I suppose the artists bathe regularly. Other than that, I can't imagine any aspect that Mozart would recognize as his own time period. Even archaic spelling is used ('hailigen' rather than 'heiligen') in some of the background artwork.I sure wish all operas were performed in this period-friendly style. Alas, that is probably asking too much intelligence ...!! :-)

LA ORQUESTA SINFONICA DE LA UNIVERIDAD MOZARTEUM AUSPICIADOS POR LA DEUTSCHE GRAMMOPHON, SUMADO A LAS MAGNIFICAS ACTUACIONES DE MAXIMILIAN KEINER, JEKATERINA TRETJAKOVA Y EL RESTO, ASÍ COMO LOS IMPRESIONANTES VESTUARIOS, ESCENOGRAFÍA Y LUCES HACEN DE ESTA OPERA DE MOZART UNA JOYA, UN DVD DE GRAN CALIDAD QUE IMPULSA EL GUSTO POR VOLVER A MIRAR A LA HISTORIA DE LA OPERA Y COLECCIONAR LAS GRANDES PUESTAS EN ESCENA.

I absolutely loved these two very early pieces by Mozart. The staging singing and playing are first rate and I would highly recommend them and this DVD to all Mozart enthusiasts.

Das Verdienstvolle und Kostbare der M22-Serie besteht darin, dass die frühen Opern Mozarts nun auch in exzellenter Ton- und Bildqualität auf DVD vorhanden sind und hier jedenfalls (aber auch bei anderen, z.B. La finta semplice, Il Re pastore) von einem vorzüglichen Orchester und hervorragenden SängerInnen dargeboten werden. Sie sind mit vollem Engagement bei der Sache und anscheinend von der Qualität der Musik überzeugt, so wie ich. Die Stimmen sind frisch, jugendlich, mit wenig Vibrato. Die aktuellen Weltstars würden das hier wahrscheinlich nicht besser machen können.Die beiden Inszenierungen sind sehr unterschiedlich, aber beide finde ich angemessen. "Apollo et Hyacinthus", eine Schuloper, wird in sehr barocken, weiten Kostümen dargeboten und die Akteure verhalten sich eher statisch (passt zu den Kostümen), drücken sich aber trotzdem durch Körpersprache und Mimik aus. Denn es gibt kaum Handlung (außer was bloß berichtet wird), und so sind die Empfindungen der Personen das allein Auszudrückende."Die Schuldigkeit des ersten Gebots", ein sogenanntes Fastenspectaculum in der opernlosen Fastenzeit wird dagegen lebhafter und noch bunter kostümiert und mit zusätzlichen nur pantomimischen Darstellern inszeniert: z.B. vor der Löwenarie tritt ein pirschender Jäger auf und während der Arie springt ein Löwe über die Bühne, der den eingeschlafenen Jäger dann auf seinem Rücken wegträg.Der Christgeist tritt als eifriger, etwas ängstlicher Mönch auf, der Weltgeist als Teufel (Christiane Karg) mit anderen Teufelchen, die sich auch unters Publikum mischen. Gerechtigkeit und Barmherzigkeit sind oben auf einer Art breitem Turm unschwer als himmlische Bewohner zu erkennen. Die Akteure sind sehr beweglich, laufen viel und der Christgeist balgt sich mit dem Weltgeist, einmal mischt sich auch die Barmherzigkeit da mit rein. Kurz: ein munteres Spiel zur herrlichen Musik, diesen exzellenten Barockarien, nicht so tiefsinnig wie die von Händel, aber interessant, kurzweilig und vergnüglich.Von Vorteil halte ich es, wenn man die Musik schon vorher kennt, sonst könnte beim ersten Mal hören die Ablenkung durch das agile Treiben auf der Bühne zu groß sein.Die Kameraführung ist in "Apollo et Hyacinthus" sehr ruhig, in "Die Schuldigkeit des ersten Gebots" ziemlich beweglich, aber nicht hektisch, die Häufigkeit der Bildwechsel finde ich erträglich.

Die zwei auf diesen DVDs enthaltenen Werke sind sehr sehenswert, ohne natürlich an die grossen Opern von Mozart heranzukommen. Müssen sie ja auch nicht unbedingt. Zum einen haben wir das Singspiel "Die Schuldigkeit des ersten Gebots" und zum anderen "Apollo et Hyazinthus". Dies sind die frühesten Bühnenwerke Mozarts, die dieser mit 11 Jahren komponierte, unglaublich aber wahr. Sie werden an der Universität Salzburg gespielt, da wo sie auch 1767 zum ersten Mal aufgeführt wurden. "Apollo et Hyacinthus" ist in lateinischer Sprache gesungen. Die Gesten sind plakativ und äußerst sparsam, die Inszenierung erinnert mich immer wieder an Alice in Wonderland. Gestört hat mich vor allem, dass der Vater (d.h. der König) mehr oder weniger dasselbe Alter hat als der Sohn und die Tochter. "Die Schuldigkeit des ersten Gebots" wird als Singspiel sehr witzig in Szene gesetzt. Es geht darum, dass ein guter Geist - der Christgeist - und ein böser - der Weltgeist - die Seele des Christen gewinnen wollen. "Die Schuldigkeit des ersten Gebots" ist ein Teil innerhalb eines Großwerks, zu dem der zweite und dritte Teil von zwei Salzburger Kompositionskollegen komponiert wurden, und zwar Anton Cajetan Adlgasser und Michael Haydn, der Bruder von Joseph. Diese Teile sind allerdings leider verschollen, so dass auch kein Vergleich mehr möglich ist.

Die Bühnenaufführung ist gelungen, allerdings kann man die hohe Kunst der Inszenierung bei dieser DVD nur erahnen. Es kommt kein richtiges Operngefühl auf, der Schnittryhtmus, wenn es denn einer sein soll, ist nach meinem Geschmack eher willkürlich denn bewusst gewählt. Das Ganze macht einen sehr abgefilmten, lustlosen Eindruck, weniger einen Lebendigen. Dazu kommt noch, dass man sich mit "High Definition" schmückt, dann aber scheinbar nicht in der Lage oder willens ist, eine PAL DVD daraus zu generieren. Ein echtes HD "Mittendrin" Gefühl kommt in der verminderten NTSC "Qualität" jedenfalls nicht auf. Leider nicht so gut. Schade!