Those of you who know the blog know to expect some cryptic code deciphering and mixed metaphors so I’ll try to keep this direct.
I had already expected a modern-day setting of Kublai Khan by Antonio Salieri and was relieved I’d have a bit more complicated Interpretation to deal with rather than garden-variety 18th-century orientalism. However, I was surprised to be met with a construction site upon arrival. The experience of arriving at one of Viennas premiere jewel box theaters only to be redirected to Museumsquartier (my eyes aren’t so good anymore and there was no obvious alert on my ticket purchase) was an fitting simulacrum for this run of Salieri‘s opera as it simultaneously stages the work and explains why its premiere was cancelled in 1787.
In this new (and only second?) staging all characters are now high level players in various global conglomerates seeking to merge, dominate, or delegate - still all through marriage it should be said. Schorsch Kublai is now the CEO of a major chocolate manufacturer, producing Kublai balls (as an obvious reference to Mozartkugeln). He’s apparently aiming to marry his son to Alzima, a Russian executive and competing chocolatier (Bengali princess in the original story). To make the premiere‘s metanarrative clear, there is even an extended logo redesign scene to rid the current design of any racist undertones (or was it overtones?).
After chaos ensues in the first act - definitely Salieri’s intention - and a fair amount of rewriting becomes apparent (couched as Salieri’s own reinterpretation), I was overcome by a sense of rewatching the Four Seasons Total Landscaping debacle unfold. You know, when someone went searching for the Four Seasons in Philadelphia and somehow landed an entire Trump campaign team at Four Seasons Total Landscaping in Tacony … Was that also the job of a Bengali prince(ss)?
In short this staging of Salieri’s opera buffa, which he dubbed ‚drama eroicomico,‘ couldn’t have been better suited to the overarching themes, and I’m happy to continue playing my role - with intermissions. As far as I’m concerned, Theater an der Wien nailed it.
