Karin Bergs
In this opera we move into the Baroque period and encounter many exotic instruments. In addition to normal instruments, I could make out a harpsichord or spinet (although I can’t tell the exact difference), several theorbos, and a cello-like instrument that I couldn’t place.
Plot
The opera La Calisto transports us to the ancient world of the gods. The nymph Calisto belongs to the entourage of the hunting goddess Diana. Zeus falls in love with Calisto. Since Diana forbids men, Calisto doesn’t even know what a man is. Zeus therefore appears to her as Diana and seduces – or rapes – her. Calisto becomes pregnant and is excluded from the circle of nymphs by Diana. She has a son.
Juno, Zeus’ wife, is jealous and turns Calisto into a bear. The son grows up, becomes a hunter and almost kills his mother. Finally, out of a guilty conscience, Zeus transforms Calisto into the constellation of the “Big Bear” and the son into that of the “Little Bear”, so that we can still admire them in the night sky today.
Stage design
Zeus appears in the first scene in a militant leather coat with a peaked cap and a rifle and aims the rifle at the audience. What’s that supposed to mean? There were no guns in ancient times! This is an absolute no-go for me. Why is the Bavarian State Opera doing this? Does the opera perhaps receive money for staging the production in this way? Is social change being sought here through culture?
Diana’s Nymphs appear lascivious as graceful dancing figures high heels and Leopard outfits on, with Bow and arrow. However, they do not move aggressively and do not point their bows and arrows at the audience. I’m always grateful when no weapons are aimed at the audience! I found it exciting how Diana surrounds herself with lots of beauties, who unfortunately have to be lesbians – but she doesn’t protect her companions. A violated nymph is excluded from her circle. Whether immortality in the starry sky can be a real compensation for the degradation remains questionable.
Beautiful opera, beautiful production, but why do we need weapons against the audience?
You can see more reviews from Karin Bergs here.