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Hinoemiihův Maur Maihis V Semperoper

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Hinoemiihův Maur Maihis V Semperoper Evropy, kde žil ve Švýcarsku. V roce 1921 měly premiéru jeho dvě první opery- jednoaktovky Vrah, naděje žen a Nusch-Nu- schi ve Stuttgartu. Po několika dalších jednoaktovkách, dětské opeře Stavíme město a velké celovečerní opeře Cardillac (1926) píše svou druhou celovečerní operu Malíř Mathis na námět ze života středověkého malíře Matthiase Grůnewalda, autora známého Isenheimského oltáře, v nelehkém období refor­ mace a selských válek. Přestože se jedná o operu z německého středověku, dílo kladlo mnoho otázek, v době vzniku opery a nakonec i dnes nesmírně aktuálních, např. pálení knih ve třetím obraze našlo paralelu s nacistickým pálením knih v Ber­ líně v roce 1933, spory mezi přívrženci papeže a luterány rov­ něž připomínaly politické spory třicátých let, dále otázky po­ moci pronásledovaným, ponižování lidí, společenského zařazení, umělecké zodpovědnosti a tvůrčí svobody a v nepo­ slední řadě i otázky víry. V díle má velkou úlohu orchestr, kte­ rému je svěřena nejen rozsáhlá předehra, ale i mezihry. Hin­ demith z nich sestavil Symfonii Malíř Mathis, která zazněla dříve než vlastní opera: v roce 1934 ji uvedl v Berlíně Wilhelm Furtwängler. Ten také chtěl uvést celou operu, ale to již v této pohnuté době bylo nemožné, a tak opera zazněla poprvé 28. května 1938 v Curychu. Ve skladatelově vlasti mohlo být dílo uvedeno až po válce - poprvé ho provedla opera ve Stuttgartu v roce 1946. V Drážďanech mělo být hráno již v roce 1956, uve­ dení bylo posunuto o dva roky, ale nakonec k němu nedošlo (měl dirigovat sám skladatel), protože tomu zabránil režim bý­ valé NDR. Režisér drážďanské inscenace Jochen Biganzoli vychází z nadčasových myšlenek Hindemithovy opery a nelíčí operu pouze o historickém malíři Grúnewaldovi, ale ve výtvarném po­ jetí inscenace jsou promítána díla avantgardních umělců, ja­ HinoemiiHŮv maur kými jsou např. Robert Longo, Roy Lichtenstein, Ernst Ludwig Kirchner a Claude Monet, jejichž vlastní citáty promítá mezi maiHis v semperoper jednotlivými obrazy. Samozřejmě se objeví i nejslavnější dílo Drážďany, Staatsoper (Semperoper) Matthiase Grůnewalda Isenheimský oltář. Režisér Biganzoli X Zbyněk Brabec vedl zpěváky k akčním hereckým výkonům, vycházejícím z ex­ presionistické Hindemithovy hudby, které byly někdy příliš na­ rušovány upřenými pohledy na dirigentku. Na jevišti se he­ Přestože je Paul Hindemith, významný představitel německé recké akce neobešly o dnes tolik oblíbené močení (na začátku hudby 1. poloviny 20. století, autorem deseti oper, je pro čes­ 4. obrazu). Pije se pivo, z krabic jí pizza, kvartet ve 4. obraze byl kého operního diváka téměř neznámým skladatelem, neboť po pojat jako interview s novináři. Šestý obraz vygradoval scénou válce, pokud se nemýlím, byly u nás inscenovány pouze dvě jeho kardinála Albrechta a Mathise. opery: v roce 1970 uvedla olomoucká opera jeho Malíře Ma- Scénu s dominujícím velkým obrazovým rámem vytvořil thise - s inscenací hostovala i v Praze, ale to už dnes mnoho lidí Andreas Wilkens, současné kostýmy navrhla Heike Neuge- nepamatuje, a celkem nedávno, v roce 2011, uvedla ostravská bauer. Hudební nastudování bylo svěřeno australské dirigentce opera jeho Cardillaka (také s prezentací této inscenace Simoně Young, která má s dílem již zkušenosti ze svého pů­ v Praze). Není to trochu málo? Asi ano, ale české operní scény sobiště v Hamburku (její tamější nastudování je zaznamenáno těch dramaturgických dluhů zejména u moderních a soudo­ firmou Oehms Classics na CD). Dílo dirigovala suverénně, byť bých oper mají daleko víc. Objektivně řečeno, Hindemithovy se nevyhnula některým nepřesnostem, např. ve sboru na za­ opery jsou nesmírně náročné na provedení, zejména ty celo­ čátku 3. obrazu. Celkový dojem z jejího dirigování není ovšem večerní, a obávám se, že by příliš našeho diváka do hlediště ne­ příliš příznivý, vše plynulo jakoby pod heslem rychle a silně, přitáhly. Hutná hudba s exponovanými pěveckými party a s plně čímž samozřejmě občas orchestrem kryla některé sólisty. znějícím orchestrem, text v nepříliš srozumitelné němčině, to Z nich největší dojem zanechal Markus Marquardt v titulní vše patrně odrazuje naše divadla od jejich uvádění. Ani ve skla­ roli, dále pak John Daszak jako Albrecht, Herbert Lippert datelově rodném Německu nepatří jeho opery k běžně uvádě­ v roli Hanse Schwalba, Mathias Henneberg jako Lorenz, nému repertoáru (na rozdíl od oper jeho o generaci staršího Emily Dorn jako Regina a Annemarie Kremer jako Ursula. současníka Richarda Strausse), v našem novém století tuto I přes dílčí výhrady lze považovat nastudování Malíře Mathise operu uvedla pouze divadla ve Výmaru, Osnabrůcku, Ham­ za významný umělecký počin Semperovy opery v této sezóně. burku, Karlsruhe, mimo Německo se pak objevila na reperto­ áru v několika málo městech, např. v Paříži, Curychu, ve Vídni Dresden, Staatsoper (Semperoper) - Paul Hindemith: a několikrát v Americe. Malíř Mathis. Dirigentka Simoně Young, režie Jochen Paul Hindemith se stal výrazným představitelem německého Biganzoli, scéna Andreas Wilkens, kostýmy Heike Neu- hudebního života před druhou světovou válkou. Byl ceněn gebauer, světla Fabio Antoci, choreografie Silvia Zygou- jako violista, skladatel, dirigent i jako profesor na Vysoké hu­ ris, dramaturgie Anna Melcher. Premiéra 1. 5. 2016, dební škole v Berlíně. Před nacistickým režimem, který začal psáno z reprízy 15. 5. 2016. • bojkotovat uvádění jeho děl, odešel nejprve do Švýcarska a poz­ ději do Spojených států amerických. Až v roce 1953 se vrátil do .
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