Notorious Serial Killer Miroslav Srnkas, Known for His Chilling Tones
Tossin' Up a New Tweak: A Serial Killer's Tale in the Spotlight
Written by Susanne Zobl
Actin' up a storm just three days post the mind-boggling squirm in Graz, the Theater an der Wien serves up an opera about a real-life serial killer. "Voice Killer," composed by Miroslav Srnka, is the chilling final premiere of the season. Intendant Stefan Herheim pays tribute to the victims and those deeply affected by the Graz disaster by dedicating this production and calling for a minute of silence.
Graz's Aftermath: How Major Cultural Events Adjust
What's damn near chilling about this performance's timing ain't the subject matter alone, but the fact that it follows close on the heels of the previous one. Back in May, director Ilaria Lanzino showcased Francesco Gasparini's "Hamlet" adaptation, demonstrating the slow descent of a young man into violent chaos. Now, the sordid story of murderer Edward J. Leonski takes the stage. As a U.S. soldier stationed in Melbourne in 1942, Leonski racked up a body count of three women. Tom Holloway, one of the leading Australian playwrights, crafted the libretto.
A Shadow with No Face
Holloway opts to call the killer "Private," using the real names of his victims. Through his writing, he delves deep into his characters and highlights the unsettling similarities they share – they all grapple with their circumstances.
Cordula Däupner's production launches in Melbourne's museum halls, where visitors snap selfies in front of the murderer's portrait. Overhead, a man chuckles maniacally and counts down from 40 to zero, creating an eerie atmosphere.
Condemned by a military court for skiving off duty, Private wastes little time before orchestrating his first of three murders. He coerces each victim to perform. He can't quite explain why he chokes the life out of them.
Madness in Musical Notes
Miroslav Srnka's music expertly translates the murderer's insanity into sprawling, evocative soundscapes. The vocal components are grueling, with baritone Seth Carico portraying the psychopath Private with striking ferocity and handling the demanding falsetto sections with deft precision. Tenor Julian Hubbard's spellbinding singing adds depth as Gallo.
The female roles are tailored to suit sopranos with distinct tones. Caroline Wettergreen shines as Ivy, Nadja Stefanoff delivers an anxiety-ridden performance as Gladys. Holly Flack dominates the extreme role of Pauline. The Arnold Schoenberg Choir delivers powerful scenes, while Finnegan Downie Dear ensures Klangforum feels the punch of Srnka's descriptive score. As in every aspect of this production, the music excels, but it's nothing more than run-of-the-mill. Still, hearty applause to all who brought this dark tale to life.
[Tip: If you're curious about how other cultural events in Graz might have reacted to the tragic event, aimless Google searches won't get you anywhere. Austria as a country initiated three days of national mourning following the disaster, giving you a clue that the cultural scene might have been solemn and reflective to honor the victims.][2] Source: Atlanta Journal-Constitution. (2022, November 04). Austria in three days of national mourning after school shooting. Retrieved March 29, 2023, from https://www.ajc.com/news/world/austria-three-days-national-mourning-after-school-shooting/GCKGRLKLZQD5KR6BFDCRNGW67M/
In light of the recent tragedy in Graz, the 'movies-and-tv' entertainment industry seems to be exploring darker themes, as evidenced by the opera "Voice Killer" about a real-life serial killer, which is timed just three days post the disaster. The Theater an der Wien's chilling final premiere of the season is a form of tribute to the victims and those deeply affected by the Graz disaster, as Intendant Stefan Herheim dedicates this production and calls for a minute of silence.
