Naked on Stage
(Armida*, Komische Oper Berlin)

This rather unknown opera presents itself as a charade of emotions, particularly of those relating to the main character. Beautiful Armida, inadvertently having fallen in love with heroic Rinaldo whom she initially intended to murder, is battling with her own fears. Ashamed of her weakness, afraid of losing control and yearning for “hate” in order to discard her affections – everything eventually succumbs to her own emotions.

Under director Calixto Bieito however, love is not only sung about, but rather put into action straight away. Barenaked male extras, crouching and crawling before dressed female singers, ought to represent power dynamics in the relationships. The prelude of the forth act is dominated by a man, who is nearly naked but adorned with a live sneak; only then, the singers may enjoy the freedom of being bare-chested.

The baroque style opera has hence turned into an exciting sexual extravaganza, effortlessly concealing those often uncomfortably tedious baroque stretches. Nevertheless, conductor Konrad Junghänel delivers with the Komische Oper’s orchestra a thrilling interpretation, full of nuances and colours – which is worth to be heard again with eyes shut.

Special mention for theatrical skill deserve Armida (Caroline Melzer, Soprano), as well as the vocal interpretations of Hate (Maria Gortsevskaya, Mezzo-soprano), Hidraot (Peteris Eglitis, Bass-baritone), Phénice (Olivia Vermeulen, Mezzo-Soprano) and Sidonie (Karolina Andersson, Soprano) as well as a precise choir that once in a while is allowed to slap a behind of an extra or two.

Heroic Drama by Christoph Willibald Gluck
Libretto: Philippe Quinault after Torquato Tasso (La Gerusalemme liberata), Debut Performance: Paris, 23rd September 1777
*Performance 26th April 2009