Review: “Sweeney Todd” by Stephen Sondheim – submitted by Martin J. Berger in a sober criticism of capitalism in the Dresden operetta

Stephen Sondheim, who died at the end of 2021 at the age of 91, was a paradox: the difficult and eternally fascinating man who throughout his long life as a composer and lyricist tried, mostly unsuccessfully, to bring together the far-flung worlds of sound and the world of music. Experience mass entertainment with the intellectual heights that connect art music. Of course, he celebrated his biggest success with the bloody song The Devil Barber from London’s Fleet Street.

“Sweeney Todd,” as dark as it is cult-like, was the first musical to win the Pulitzer Prize in 1979. Here, in a completely “non-musical” way, the vengeful Figaro, whose wife was stolen by a bad judge, slits the throats of his clients out of thirst For revenge. He has the leftovers processed by the lousy cook Mrs. Lovett and suddenly turns them into the most delicious meat pies in London. Sondheim mixes Victorian horror drama, French Grand Guignol crudeness, and Bertolt Brecht’s objectivity with the ramshackle cabaret music of Kurt Weill and the sharp string vibrato of Bernard Herrmann.

Opera star Bryn Terfel has sung Sweeney several times. In the Komische Oper Berlin, Dagmar Manzel was the bad Mrs. Lovett. In 2008, Johnny Depp, with a weak voice, played the lead role in the eccentric film written by Tim Burton. The revival is currently celebrating success on Broadway. Now the piece, set in dingy, gray London in the late 19th century, has been released for the first time by Dresden State Operetta. Sondheim fan Martin J. Berger, who had already had success with “Follies,” directed the film.

It is also surprising that the work at Dresden’s Kraftwerk Mitte, which is actually gory and entertainingly sinister, does not appear artistically disgusting, with no rats or smelly street rabble on stage. “First comes food, then comes morality,” Berger quotes Brecht — even before the organ thunders and the orchestra becomes visible behind a mesh wall.

Peter Christian Vigil, who plays fast but also with just the right amount of underlying dramatic darkness, is on the scene with his players. Around them, in a revolving circle, the rich drink each other away, including the scheming Judge Turpin. Elmar Andre gives it to him in a sober and cool manner. Even if he lusts after “beautiful women” in the form of Sweeney’s daughter Joanna (with the powerful soprano: Julie Seekinger).

Those who make money for “those above” stand as a gray mass in front of the fence in the orchestra pit that has been built. If the sheet metal bridge disintegrates, a hellishly steaming pit opens up beneath it: a body disposal place for the random victims (!) mostly gassed by Sweeney, as well as a refuge for those who have nothing left.

In Berger’s case, the straightforward massacre piece is a thoroughly contemporary social and capitalist critique. Because Sweeney Todd cannot stop injustice and cannot reach a judge, he wants revenge and kills others. And Mrs. Lovett, who has suddenly become a successful entrepreneur with a lot of fresh meat pies, benefits. Silke Richter plays this disgusting yet comfortable character with the escapist dreams of a pensioner in her gold shoes and pink uniform, and she is as vulgar as necessary, as maternal, as clever, and as deceitful as possible. The musical stings almost get stuck in your throat. You can see how a cannibal bakery turns itself into a delivery company that exploits others.

As a crooked rival barber, Adolfo Pirelli (Vaclav Vallon), created as a “parody of Italian opera,” is the first to have to pay with his life. Finally, his friendly, stupid assistant, Toby (Ricardo Romeo), takes revenge on him. The greasy, grouchy Sheriff Bamford (Dietrich Seydlitz) is also fatally punished for his nefarious plots. But the truly great Heinrich Horn in the lead role outshines everyone with the exuberance of his black voice.

This is not easy, if you are a fan of shallow entertainment, you may spoil your stomach with this horrific and horrific battle bowl. Because without any nostalgic decor, in a harsh, direct, brutal light – even if almost bloodless – the truly powerful band and choir deliver a crystal clear message: Man is the wolf of man, even if he wants good and ends up doing evil. . In his bloodlust, Sweeney Todd murders his long-lost wife (Demetria Kalitzky) before finally being eliminated and resurrected.

At least Jero Wendorf, like Anthony, who falls in love with Joanna, can continue to believe in true love. Will it be given to him? Martin J. Berger certainly doubts this as well. Just like Stephen Sondheim, who conjures up a sinister, black, waltz-like sentimental operetta. There is only food here, and no morals.