Cardillac – an experiment with modern classic

The new management of the opera department in the National Moravian and Silesian Theatre (NMST) in Ostrava closed its first season by an exclusive piece – Cardillac by Paul Hindemith who was played in the Czech Republic in the 1920s  for the last time.

The previous premieres of the Ostrava company did not rank among classic repertoire pieces we are used to seeing in our opera theatres. In autumn, there was Ariadna (Martinů) and Šárka (Janáček) in one evening and Massenet's Werther as well as Umberto Giordano's Fedora.  Jacques Offenbach's Orpheus in the Underworld deviates from this almost experimental dramaturgy; it should probably satisfy those who have not been convinced by the above-mentioned pieces.

Librettist Ferdinand Lion took E.T.A. Hoffmann's short story Mademoseille de Scuderi as inspiration for the story of Cardillac. Hindemith adapted a crime story about a brilliant Parisian jeweller, who is not able to separate from his works and does not hesitate to murder for them, for the second time. He created the first version in the 1920s and the second one in the 1950s.  The composer wrote his own libretto for the second version, he rewrote music performances and divided the plot into four acts (unlike three ones in the original version). Despite the fact that Hindemith allowed performances of both versions, the first one appears more frequently and this is the case of the NMST opera, too.

Hindemith's Cardillac is a very demanding piece and we need to appreciate accurate music interpretation of conductor and music director of the NMST Robert Jindra and performances of orchestra players and singers – soloists and especially the choir. A perfectly synchronized choir (choirmaster Juri Galatenko) is the greatest embellishment of the staging; the final group scene with Cardillac's beating is its real catharsis. Baritone Jacek Strauch was invited to sing a difficult role of Cardillac. He currently sings in German theatres, he enriched the character with strong charisma and he supported it with excellent signing.

Director Jiří Nekvasil tells a story in a non-descriptive way, he emphasizes emotions and moods in scenes. Vivid and expressive stage design by Petr Matásek and stylized costumes by Zuzana Krejzková intensify the impression. Dark lights dominate the stage with characters, dazzling jewellery and a red pub where the angry crowd kills Cardillac. There are not many light moments in this detective and horror story and only a love duet of Cardillac's daughter with the Officer has the right for brighter colours. Dark and muffled lights perfectly emphasize atmosphere of fear and tension.

The staging was very successful with professional critics after the premiere in June and it confirmed its exceptionality during the performance in Prague in October. All critics write about the staging of the year.

Kateřina Řeháková