Opera production of Die Frau ohne Schatten offers a captivating interpretation of a challenging piece - evaluation
Rewritten Output
Embrace the thorny depths of Richard Strauss's Die Frau ohne Schatten, as Dutch National Opera gives it a fresh spin under the feminist lens of director Katie Mitchell. This powerhouse duo twists the tale of a barren Empress and her quest for fertility, shining a glaring spotlight on patriarchal systems that deem women valuable only as bearers of children.
Step into a world where the seeds of oppression have sprouted, entwining the daily lives of characters in a fashionable yet harmful grip. Katie Mitchell, known for her knack for infusing magic into her productions, delivers yet again with birds, animals, and a sinister king lurking behind every corner. Keikobad, the king of the spirit underworld, makes his presence felt through the production, cloaked in an antelope mask and stalking the characters in dysfunctional settings.
In this draft of events, the Empress and her husband inhabit a mansion brimming with servitude, barely reacting to the presence of violent henchmen who roam the halls. When the barren Empress ventures into the mortal realm, she calls upon Keikobad's goons to coerce the Dyer's Wife into giving up her "shadow." The Dyer and his brothers, struggling in the shadows of their crystal meth lab, find themselves caught up in the patriarchal meat grinder.
In Mitchell's view, fertility isn't just about life; it's about money, control, and the commodification of women's autonomy. The Dyer's Wife, forced to submit at gunpoint, paradoxically finds joy in her newfound pregnancy. Mitchell brands her production as a suffocating blend of feminist science fiction and thriller, leaving a trail of questions that beg for answers.
The set pieces are nothing short of intricate and captivating, with Naomi Dawson's designs creating a tension that leaves viewers complicit in the narrative's unraveling. Yet, not everything adds up, and some puzzles remain frustratingly unsolved. Regardless, the resounding message echoes that of a violent patriarchy stripping women of their freedom.
Buckle up for a storming four-hour performance. Mitchell's cast places dramatics over pitch-perfect vocals, with Josef Wagner as Barak the Dyer and AJ Glueckert's Emperor being the notable exceptions. Marc Albrecht's masterful orchestrations work wonders for the Netherlands Philharmonic, but they leave the singers struggling to be heard above the symphony.
One can't fault the actors' commitment or Albrecht's untamed magic. Yet, the disconnection between the orchestra and the stage leaves something to be desired in an opera that thrives on their harmony. Regardless, Mitchell's provoking exploration of Die Frau ohne Schatten is a must-see for anyone seeking to question the norms that have kept women in the shadows for far too long.
★★★★☆
Running until May 10, operaballet.nl/en
Katie Mitchell's fresh take on Richard Strauss's opera, Die Frau ohne Schatten, depicts the Empress's and her husband's mansion as a breeding ground for oppressive business practices, where violent henchmen roam unfazed by the hosts, reflecting the dehumanizing nature of patriarchy. In this production, the Dyer's Wife, coerced by Keikobad's henchmen, finds an unexpected sense of happiness in her newfound pregnancy, a stark contrast to the operational systems that treat fertility as a means of control and financial gain. Despite some puzzling elements in the performance, the production serves as a powerful call to question the entertainment industry's entrenched patriarchal structures and strive for a more equitable society.
