Karlheinz Stockhausen’s ‘Mittwoch aus Licht’ is not just an opera; it’s a profound challenge to conventional understanding, a mystical journey into the cosmic. The recent production at the Deutsche Oper Berlin, directed by Susanne Kennedy, has once again brought this monumental work to the forefront, prompting audiences to grapple with its esoteric themes and unconventional staging, including the infamous Helicopter String Quartet.
A Cosmic Challenge: Stockhausen’s Vision in Berlin
Stockhausen, who passed away in 2007, was known for his refusal to confine his works to traditional operatic forms, preferring to create what he called “mystery plays” or “art-religious happenings.” This approach is vividly present in ‘Mittwoch,’ the third day of his seven-part cycle ‘Licht.’ The Berlin staging, which saw a few empty seats after intermissions, was nonetheless met with a generally warm reception, despite some protests against the direction.
The Spectacle of the Helicopter String Quartet
The undoubted highlight of the evening was the legendary Helicopter String Quartet. In this audacious piece, Stockhausen sends four instrumentalists into four separate helicopters, their instruments soaring above Brandenburg’s forests. The roar of the rotors, combined with the rhythmic bowing of two violins, a viola, and a cello, creates a mesmerizing sonic landscape, amplified by bizarre cockpit footage. This segment perfectly encapsulates Stockhausen’s fascination with the element of air and cosmic flight, a central theme in ‘Mittwoch.’
Air, Love, and Esoteric Symbolism
The opera delves into themes of air and love on a cosmic scale, depicting the reconciliation of God and the Devil and humanity’s appreciation for it. Susanne Kennedy and set designer Markus Selg presented this narrative against a backdrop resembling an ancient place of worship, possibly a sacrificial site. Here, various rituals unfold, incorporating water, clay, gestures, and Zen allusions, underscoring the work’s spiritual and intuitive nature.
Stockhausen’s rich tapestry of symbols – the color yellow, the number 8, the scents of mastic and frankincense, and the right eye as the eye of God – further deepens the esoteric experience. It is a work that might resonate more with extraterrestrials, a group Stockhausen famously felt a strong connection to, claiming he originated from Sirius, the brightest star in the firmament.
The Ensemble’s Remarkable Achievement
Despite the abstract and enigmatic nature of the text, the musical direction by Maxime Pascal and his Ensemble Le Balcon, along with the choir and musicians, delivered a truly astonishing performance. Interpreting such a complex score is a significant challenge for all involved, including the audience, who are invited to immerse themselves in Stockhausen’s redemptive fantasies.
Stockhausen’s Legacy: Annoyance or Enlightenment?
Understanding Stockhausen’s difficult life can shed light on some of his artistic choices. His obsessive counting, for instance, might be linked to a childhood tormented by a teacher father. Ultimately, the Berlin production of ‘Mittwoch’ proved to be a grand evening, whether experienced as an annoyance or an enlightenment, depending on one’s openness to its esoteric currents.
Source: https://www.br-klassik.de/aktuell/news-kritik/kritik-karlheinz-stockhausen-licht-berlin-100.html
