essays by & reviews on

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CONTRIBUTIONS TO PROGRAM BOOKS

"Thus conscience does make cowards of us all" - OR FROM THE SEAT OF HEROISM

Myth as the "contracted" world view - according to Nietzsche, mankind can exist without myth, but as a starving mankind. What does myth appeal to that is not fulfilled in the "rational" worldview which makes us "starve"? And why is it regarded as the opposite of the Logos?
Essay, in Staatsoper Berlin, season preview 2012-2013 (German).

GENUA SEEN FROM THE SEA

In Verdi's "Simon Boccanegra", at the end of the night of history, there is a call for peace, linked with the hope of a better future under more just rulers. The only female figure in the opera acts as a peace-giving, transversal force that ultimately also breaks the law of time: Mary, who returns again and again.
Essay on Verdi's "Simon Boccanegra", contribution to program booklet 112, Staatsoper unter den Linden, Berlin, 2009 (German)

Rinnegato e felice

Almost like an alienation effect, Puccini uses the contrast between the two worlds USA and Japan as a foil of his tragedy, which is not so much the drama of a poor betrayed Japanese girl as the story of a great and impossible love between two people from extremely different backgrounds.
Madama Butterfly, Opernjournal 1, 2012/2013, Hamburgische Staatsoper (German)


WE HAVE FORGOTTEN WHAT SOULS ARE.

Among Puccini's heroines, Butterfly is a special figure. Her opponent Pinkerton most of the time does not really exist, so he becomes almost an excuse to tell her "version" of the story. .
Interview with director Vincent Boussard, contribution to program booklet "Madama Butterfly", Hamburgische Staatsoper / NDR/arte / ARTHAUS MUSIK, 2012 (German / English / French)

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ESSAYS

About Gold as Mask of history

Contribution to the catalogue "Großer Stern" by Andre Putzmann, Berlin 2019 (German)

Gerhard Kassner: "Professional - Private": Pictures of Human Beings

Essay on photographer Gerhard Kassner, in Brennpunkt – Magazin für Fotografie, 2/2012, p. 150 (German)

ABOUT A CITY OF WEAVERS

Report on the documentary film project "Stadt der Weber", contribution to the anthology "SozialRaumInszenierung", editors Nadine Giese, Gerd Koch, Silvia Mazzini, Lingener Beiträge zur Theaterpädagogik, Band XI, Schibri-Verlag 2012, p. 225 - 237 (German)

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REVIEWS THEATRE & OPERA WORKS


Pechêurs de Perles videodesign Barbara Weigel ilacastelli

Foto: Alain Kaiser

Pechêurs de Perles videodesign Barbara Weigel ilacastelli

Pechêurs de Perles videodesign Barbara Weigel ilacastelli

Pechêurs de Perles videodesign Barbara Weigel ilacastelli

Pechêurs de Perles videodesign Barbara Weigel ilacastelli

Pechêurs de Perles videodesign Barbara Weigel ilacastelli

Georges Bizet - Les Pêcheurs de Perles, Opéra national du Rhin, Strassburg 2013

Direction musicale / conductor: Patrick Davin
Mise en scène / direction: Vincent Boussard
Décors / stage design: Vincent Lemaire
Costumes / costume design: Christian Lacroix
Lumières / light design: Guido Levi
Dramaturgie & vidéo / dramaturgy & videodesign: Barbara Weigel

avec/with Annick Massis - LEILA / Sébastien Gueze - NADIR / Etienne Dupuis - ZURGA
Choeurs de l'Opéra national du Rhin / Orchestre symphonique de Mulhouse

Comme souvent, le metteur en scène juxtapose les images et les références – la vie de Bizet, dont Zurga incarne la projection ; les loges d’un théâtre lyrique ; une abondante et élégante vidéographie faite de mer, de fumées et de chandelles comme autant de perles; le voile de Leïla où l’héroïne semble prise comme dans un filet de pêche.

As so often, the director juxtaposes images and references - the life of Bizet, whose projection Zurga embodies; the boxes of a lyrical theatre; an abundant and elegant videography made of sea, smoke and candles like pearls; Leïla's veil where the heroine seems caught in a fishing net.
(Gilles Charlassier, concertclassic.com, in french)

Certaines images se révèlent pourtant superbes, notamment la première apparition de la jeune femme, cachée aux yeux de tous par un immense voile qui occupe le plateau tout entier, ainsi que les projections vidéo de Barbara Weigel, symboliques, évocatrices, poétiques.

However, some images are superb, notably the first appearance of the young woman, hidden from everyone's eyes by a huge veil that occupies the entire set, as well as Barbara Weigel's video projections, symbolic, evocative, poetic.
(Nicolas Grienenberger, classicnews.com, 26.5.2013, in french)

"Les pêcheurs de perles" à l'Opéra du Rhin: une immersion salvatrice dans l'univers de Bizet:
Les images ainsi projetées en fond de scène contribuent à créer une ambiance baignée de lumière, de mouvements calmes qui vont crescendo augmenter la tension du drame. Très bel accompagnement visuel qui fascine et immerge le spectateur dans l'évocation subtile de la mer.

"Les pêcheurs de perles" at the Opéra du Rhin: a life-saving immersion in Bizet's universe:
The images projected at the back of the stage contribute to creating an atmosphere bathed in light, calm movements that increase the tension of the drama. Very beautiful visual accompaniment that fascinates and immerges the spectator in the subtle evocation of the sea.
(Geneviève Carras, blogspot.com, 18.5.2013, in french)

les projections vidéo de Barbara Weigel sont d’une réelle poésie...
Barbara Weigel's video projections are truly poetic...
(Laurent Barthel, ConcertoNet.com, 17.5.2013,in french)

>> Bande-annonce Opéra du Rhin



Finta Giardiniera videodesign Barbara Weigel


Finta Giardiniera videodesign Barbara Weigel


Finta Giardiniera videodesign Barbara Weigel


Finta Giardiniera videodesign Barbara Weigel

W.A. Mozart, La Finta Giardiniera, Luxemburg / Toulon 2013

Reprise de la mise en scène en plein air de Aix en Provence 2012 avec projections vidéo /
Resumption of the outdoor staging of Aix en Provence 2012 with video projections
Diréction musicale/Conductor: Andreas Spering
Mise en scène & costumes / Direction & costumes:
Vincent Boussard
Décors/Stage design: Vincent Lemaire
Lumière/Light design: Guido Levi
Dramaturgie & vidéo/dramaturgy & videodesign:
Barbara Weigel

avec/with: Lucy Hall (Sandrina), Sabine Devieilhe (Serpetta), Ana Marie Labin (Arminda), Julie Robard-Gendre (Ramiro), Nathan Vale (Belfiore), John Chest (Nardo), Colin Balzer (Il Podestá), Orchestra Le Cercle de l'Harmonie

Si à Aix les travaux avaient été réalisés en plein air, dans la cour du Grand Saint Jean, ici une utilisation intelligente des projections vidéo, a eu pour effet de recréer une atmosphère “en plein air“.
Une vidéo fait apparaître la lune qui grossit en s‘en allant c‘est simple mais bien imaginé. Il est à noter combien, parfois, avec peu de choses et beaucoup de goût on peut faire un spectacle dont on se souvient avec grand plaisir.

If the work had been carried out in the open air in Aix, in the courtyard of the Great Saint John, here an intelligent use of video projections had the effect of recreating an "open air" atmosphere.
A video shows the moon waxing, this is simple but well imagined. It is worth noting how, sometimes, with little means and much good taste a show can be produced that we remember with great pleasure.
(Frédéric Stéphan, Opéra di Toulon:"La finta giardiniera“, gbopera.com, 24.11.2013, in french)

Au lieu de la nature comme décor, il y a des projections vidéo abstraites mais très atmosphériques.

Instead of nature as scenery, there are abstract but very atmospheric video projections
(DiL, Der Zyklus rundet sich, Trierischer Volksfreund, 22.03.2013)

Un regard un peu kitsch, un peu usé par la bucolique classique, mais qui par la suite est animé par le scénographe Vincent Lemaire[sic] avec des projections vidéo abstraites grises et rouges en forme de nuages.

A somewhat kitschy, rather worn classical bucolic view, but which subsequently animates stage designer Vincent Lemaire [sic] with cloud-like grey and red abstract video projections.
(Marc Weinachter, Fataler Liebesreigen, in Tageblatt - Zeitung fir Letzebuerg, 23.3.2013)



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Fotos: Monika Rittershaus


G. F. Händel, Radamisto, Theater an der Wien 2013

Direction musicale / Conductor: René Jacobs
Mise en scéne / Director: Vincent Boussard
Décor / Stage design: Vincent Lemaire
Costumes / Costume design: Christian Lacroix
Lumière / Light design: Guido Levi
Dramaturgie & vidéo / Dramaturgy & videodesign: Barbara Weigel

avec/with David Daniels (Radamisto), Florian Boesch (Tiridate), Sophie Kartkhäuser (Polissena), Patricia Bardon (Zenobia), Jeremy Oveden (Tigrane), Fulvio Bettini (Farsmane)
Orchestre: Freiburg Baroque Orchestra

Un atout de la production est l'équilibre tonal et optique et la noblesse : la balance entre la musique, la direction charmante et jamais rigide de Vincent Boussard et le gris simple et convaincant dans l'espace scénique gris du Vincent Lemaire, qui crée avec des projections de poissons et de jardins flottants l'impression d'une famille royale piégée dans leur monde - marque : "Dynastie-Clan".

A trump card of the production is the tonal and optical equilibrium and noblesse: the balance between music, Vincent Boussard's charming, never rigid direction and the simple, convincing grey in grey stage space of Vincent Lemaire, who creates with projections of floating fish and gardens, the impression of a royal family trapped in their world - brand: "Dynasty" clan".(Karlheinz Roschitz, Dynastie-Clan im Barockgewand, Kronenzeitung Wien, 22.01.2013)

>> Videotrailer Theater an der Wien



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Fotos: Bernd Uhlig

G. Puccini, Madama Butterfly, Hamburgische Staatsoper 2012

Conductor: Alexander Joel
Director: Vincent Boussard
Stage Design: Vincent Lemaire
Costume Design: Christian Lacroix
Light Design: Guido Levi
Dramaturgy: Barbara Weigel

with Alexia Voulgaridou (Cio Cio San), Teodor Ilincai (Pinkerton), Lauri Vasar (Sharpless), Christina Damian (Suzuki)

Director Vincent Boussard succeeds with Puccini in a suspenseful soul searching show
(Lutz Lesle, Feinsinnige Madma Butterfly, Die Welt, 13.11.2012)

No kitsch, nowhere. And yet goose-bump evocing, gripping and very dense on the story.
(Werner Theurich, Pop-Oper "Madama Butterfly" Ganz großes Kimono-Kino, Spiegel online, 17.11.2012)

At the same time, this "Madama Butterfly" is a further successful example of the concept of the dramaturgy of the Hamburg State Opera (in this case: Barbara Weigel), which can certainly be described as courageous, of making each interpretation of a work solely out of the text and its visualisation, instead of imposing meaning on it, scandalising it or endeavouring to update it. (Christa Habicht, deropernfreund.de, 05.01.2014)

Atmospheric, deeply felt, abducted into the realm of self-destructive dreams of longing (Birgit Kleinfeld, Opermagazin.de, 17.06.2017)

>> Videotrailer Staatsoper Hamburg




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