This is an excellent production of an opera that is more like a concert with dialogue and chorus, and must be pretty difficult to make work on stage. Willy Decker does make it work in a very dynamic and emotional staging. The standard of singing and the orchestra is generally high. This is probably the best DVD available for Moses and Aron, especially if you haven't seen the opera before.

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Autonomeus

Fantastic modern realization of Schoenberg's unfinished vision

2021年5月30日にアメリカ合衆国でレビュー済み

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I have heard several great recordings of Schoenberg's "Moses und Aron" (1930-1932), but this is the first DVD recording I have seen of a performance. This is a live recording from 2009.

Wow, I am impressed! Every aspect of this production is superb:

1) the music, with Michael Boder leading the Bochumer Symphoniker and ChorWerk Ruhr
2) the singing and acting of Dale Duesing, the American baritone, as Moses and tenor Andreas Conrad as Aron
3) the innovative stage design by Wolfgang Gussman
4) the directing by Willy Decker
5) the production by the Team der Ruhrtriennale and the WDR (West German Radio)

Duesing is electrically compelling as Moses the unwilling prophet. The actors wear modern clothes, though many of them are wearing little or no clothing by the end, after the debauchery at the foot of the Golden Calf. Moses begins seated in the audience and makes his way down to the stage between two risers. The risers pull apart, creating a larger space for the action. A large transparent box drops over "The People" periodically and images are projected on its sides as well as on the sides of the hall. A camera directly overhead makes possible excellent and unusual visuals compared to a typical staged opera.

Here is Willy Decker from the 16-page booklet with text in German and English:
"The new thought strikes Moses like a lightning bolt. It is like a fire that he himself has lit, shining in the darkness. He is totally unprepared for it. It comes to him without warning, unwilled, like a quantum leap. It addresses him from a black bush, burning without being consumed. Suddenly Moses, too, is consumed by the utter certainty that there must be a single undivided power that lies at the bottom of everything in our lives."

Schoenberg famously did not/could not complete the opera. But I agree with those who believe the ending of the unfinished work is more powerful than the ending Schoenberg envisioned in his outline. The text of Schoenberg's libretto is based on the Book of Exodus.

I have always found the 12-tone score of "Moses und Aron" to be beautiful -- I have recordings led by conductors Hans Rosbaud, Michael Gielen, Pierre Boulez, and Sylvain Cambreling (see my reviews) -- and I am glad to finally be able to *see* the great work performed.

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I. Zaneres

SPELLBINDING

2018年5月10日に英国でレビュー済み

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This production is in modern dress, does it matter, not one iota.
The set is basically a strip of stage in the centre of two tiered audience stands, with orchestra at one end and access and egress at the other.
It does not seem promising until audience, stage and practically everything else moves to give a wide performance area. At times a glass cage descends to imprison the Israelite people or free them as the mood of the story changes.
Moses sung by Dale Duesing has a rich baritone voice, whilst Andreas Conrad is a powerful tenor, both rise to the demands of the dramatic story.
The minor roles are all excellent.
The story presents the concept of God as an idea or philosophy without visual concept as revealed to Moses, but he cannot present this to the Israelites, Aaron attempts to translate this concept to the people with ever diminishing positive results.
Compared to the Opera De Paris version, this is in a different street, and makes my four star rating of that production seem very generous.
The 12 tone scale produces some marvelous dramatic music which is reflected by the remarkable physical requirements put on the chorus, and they still manage to sing to a very high standard.
Once I started on the DVD I was reluctant to pause for a moment.
I thoroughly recommend, unless you are offended by the explicit orgy towards the end, it does have a strong impact, whereas in the Paris production it fades into irrelevance.

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Mr. Daniel Zehnacker

Une image à adorer

2010年10月13日にフランスでレビュー済み

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Moise a délivré le peuple d'Israel, mais sans Idole à vénérer, le peuple se sent seul, "non-guidé".
Or, Moise ressent la présence d'un dieu unique, mais ne peut la communiquer aux autres. Il en charge son frère Aaron, et part au sommet de la montagne receuillir les tables de la Loi. Quarante jours d'absence, pendant lesquels Aaron est tourmenté par le peuple qui commence à se révolter. Lorsque Moise redescendra de la montagne, sa déception sera immense.
Le décor est simple : un grand quadrilatère rectangulaire où se presse le peuple. Un immense "couvercle" les enfermera ou les libérera tour à tour au gré de leurs espérances ou de leurs revendications. Sur ses murs translucides, Aaron, au deuxième acte, fera apparaître le serpent ou la main lépreuse pour envoûter ses occupants. La foule, toujours en mouvement, exprime tous les sentiments de l'âme humaine avec une mobilité extraordinaire.
L'apparition du veau (qui n'est pas en or) sera l'ultime concession d'Aaron. Sur ses flancs laiteux, les isncriptions (Dieu -Sang - Orgie...) déclencheront la folie collective qui provoquera la colère de Moise, à son retour.
On suit, médusé, ce spectacle d'une force redoutable, où la musique suit le chant et la parole avec justesse et précision. Signalons la passion de Dale Duesing et des choeurs. Peut-être la voix de ténor d'Andreas Conrad est-elle trop puissante pour le rôle d'Aaron, mais c'est un détail minime devant une telle réalisation.
N'oublions pas l'intelligente utilisation du "bâton" , sorte d'immense feutre noir, qui passe tantôt des mains des deux frères à celles du peuple et qui leur permet à tous de s'exprimer, par le dessin ou par le geste.

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Chaz Roach

The production is more interesting than the music

2022年3月31日にアメリカ合衆国でレビュー済み

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Which is not to say that the music is bad, it's just that the staging is very visceral and gripping, not to say horrifying, especially since it's presented in a minimalistic way.

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Mr. J. Barfield

Effective dissonance; distancing staging; frustrating subtitles

2015年8月19日に英国でレビュー済み

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Schoenberg's modernist music can be challenging for the listener; the fact that it deliberately does not always have a clear direction can feel unsettling. However in this opera, Schoenberg's dissonant musical lines are very effective in demonstrating the anxiety and uncertainty of the Israelites and later their flighty, fickle and capricious behaviour. It is hardly beautiful or enjoyable to listen to, but conveys the tension and emotions of the characters and the atmosphere of the piece.

The staging in this production would have been exciting and immersive to witness in person. The audience tiers move, the stage moves, the orchestra moves across the stage, characters run across, are put in boxes of light, scribble on the set and cover themselves in blood. I would have loved to have been there. The DVD experience though actively distances the viewer and you feel very much like you are watching an audience watching a play in a theatre, rather than feeling immersed in what is happening on stage. This distancing feeling perhaps happens in the case of many televised theatrical performances, given the constant changes of camera angles, but I felt it especially in this production.

I found the English subtitle translation frustrating, with it frequently neither reading like natural English nor like Biblical English. For example, "Volk" is translated as "folk" here, though in a Biblical context (and also in natural English) "people" would be better. Words like "hale", "sensate", "naught" all come across as clunky. There are points where it is quite difficult to work out the meaning of the sentences. Perhaps a less absolutley literal translation of the German words would have yielded greater sense for English viewers.

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Moses Und Aron From the Ruhrtriennale 2009 [DVD]

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