Nadja Mchantaf (as Michal), Rupert Charlesworth (as Jonathan), Aryeh Nussbaum Cohen (as David), Luca Tittoto (as Saul) with the head of the giant Goliath Photo: Barbara Brown
By Sebastian Bauer
Film director Axel Ranisch staged the Handel oratorio as the last premiere of the house before the renovation and showed courage for a new interpretation.
Film director Axel Ranisch naturally begins his Handel adaptation with a video. Scribbled charcoal drawings and a whispering voice tell of Israel’s first king, the war against the Philistines and David’s victory against Goliath and thus the history of “Saul” (1738/39).
Aryeh Nussbaum Cohen (as David) with Luca Tittoto (as Saul) Photo: Barbara Brown
In it, the future King David (terrific: countertenor Aryeh Nussbaum Cohen) stands between the jealousy of the old ruler Saul (bass Luca Tittoto), the ardent love of his children Michal (brilliant: soprano Nadja Mchantaf) and Jonathan (engaging: tenor Rupert Charlesworth) as well as the cool shoulder of Saul’s other daughter, Merab (soprano Penny Sofroniadou). The quite secular interpretation of the Bible brews a rich mood cocktail of power striving, compassion, selfishness and bisexual passion.
Director Ranisch handles the Handel material very confidently and with courage. Only a short trip to the hippie disco should not have been. The stage design (Falko Herold) impresses with a gigantic Goliath skull or a foggy visit to the cemetery. And the music, directed by David Bates, is fabulous.
Again: 30.5., and 1.,4.,10.6.23, Behrenstr. 55-57, tickets 12-94 euros, tel.: 30 47 99 74 00