“SIEGFRIED” FOR ALL
Markus Thiel, Opernwelt, July 2012
The director of the Opera Plamen Kartaloff relies, as director of the production, along with production designer Nikolay Panayotov, on simple signs that are easily stamped on the memory. A key element in their tetralogy is a large ring illuminated with video effects. Sometimes it is cut in two; next to each other the two semicircles reminiscent huge eyes (Fafner?). A complex scaffold used with enthusiasm by the soloists, marks the forest. In the finale Brünnhilde and Siegfried stand against each other, each in their segment of a sphere. But even in the first act, when the Wanderer inflates a globe of the world and dribbling with it passes by Mime, one thing becomes clear: Sofia’s “Siegfried” is far from superficial.
Kartaloff’s staging is in the best sense narrative theatre. With a distancing wink and sovereign mastery. The theatre machine moves at full speed. Nothing lead-heavy in a German way, and in the big moments Kartaloff leaves space for the music. An almost child’s enjoyment is awakened, without betraying the work. Kartaloff puts on stage reminiscences..