Theatre Design & Technology - Oct 1965 - 8

and singers, dancers and directors have to travel
some distance to the Prince Regent Theatre, now
used solely as a rehearsal hall and workshop. Quite
aside from the time lost in going back and forth,
there is the expense of maintaining a theatre not
used for public performance. Another thought for the
Bavarian taxpayer: the Prince Regent needs more
than $2,500,000 in urgent repairs. The money will
surely be found, if Bavaria's past generous patronage
is any indication.
A great opera is much more though than glittering
foyers, stunn ing scenery or complex stage mach inery.
Dr. Hermann Friess, Chief Dramaturg of the Bavarian
State Opera, is well aware of this. He points out that
General Manager Rudolf Hartmann and Musical Director Joseph Kei Iberth not on Iy provi de a repertory
evenly balanced between classics and modern experiments but that they also strive to attract outstanding
singers to Munich. The National Theatre's chances
of being rated an opera house of the first rank are
very good, provided the high standard of programming
and production are continued, and that the state is
not afraid to pay the price for the artists who will
make opera in Munich unforgettable.
The opening weeks already promised this. Herbert
von Karajan came from Vienna to conduct Beethoven's
Fidelio. America's Jess Thomas and Claire Watson
sang in the two opening productions. Aaron Copeland's music divided honors with Bavaria's Carl Orff
and Karl Amadeus Hartmann in a sparkling ballet
evening. Copeland himself shared the baton with
conductor Peter Maag. Local geniu~ was not overlooked. Richard Strauss was represented by two
works, as was Orff. Mozart and Werner Egk had one
credit apiece. The new production of Richard Wag'ner's Die Meistersinger recalled one of the greatest
moments in the National Theatre's rich history: the
opera's world premiere in 1868.
Throughout the first season, a succession of premieres was hailed by European critics. In the first
Munich Festival to be held in the new house-the
Prince Regent Theatre having formerly been the
Festival's home-August visitors from abroad in 1964
had the opportunity to sample these new productions.
The concensus seems to have been that this is certainly one of the most beautiful opera houses in
Europe, that its acoustics are excellent, that sight
lines from some of the seats, es pec ia Ily in the outer
extremities of the horseshoe balconies, are dreadful,
and that the stage des igners have not yet learned to
use all the technical equipment on which so much
money was spent. In fact, some productions differed
from what was formerly seen at the Prince Regent
only in what they were scenically larger. In Werner
Egk's Verlobung in San Domingo, one section of a
three-part wagon stage was used to support a rotting
planter's mansion. This was shifted slightly to the
right or to the left to focus attention more sharply
on some part of the structure, but the elaborate
wagons and the three auxi liary stages stood largely
unused.

8

Most audience members had little, if any, idea of the
capabilities of this stage, so few complained that it
was not being well used. The major objections were
directed, oddly enough, aot at the reconstruction or
the stages, but at the settings. Lohengrin sported a
new decor by Rudolf Heinrich that looked like a
cross between Venice and Notre Dame. It was attractive enough but had little to do with Brabant, the
presumed locale of this opera. As if Bavaria had not
spent sufficiently on her new house, Heinrich saw
fit to splatter the flats with sheets of gold-leaf-or
Dutch metal-shreds of which fell off during scene
shifting. In the scene dock, it makes a striking
effect. Beyond the second tow of the orchestra, it is
lost. Michel Raffaelli's bizarre sets for Mozart's
The Mag ic Flute ca lied forth loud and repeated boos.
The Queen of the Night, out of breath from a strenuous climb up a ladder, appeared magically as a tree
trunk, shaped like a rocket, flew open. "The Queen
of the Termites," quipped one critic. At this year's
Festival, however, better things are expected: now
both designers and technicians have had two seasons
to learn how to use the facilities more creatively.

Editor's note: Additional information on the technical details of
the theatre are published in the series of articles "Der Wiederoufbau des Nationaltheaters Staatsoper Mijnchen," Bijhnentechnische Rundschau (Apri I '64) pp 9-26.

Teo alto's selling for the premiere of Werner Egk's Die Verlobung in Son Domingo, during the 1963-64 season. (Phota: Rudolf

Betz)

IDSITT

THEATRE DESIGN AND TECHNOLOOY



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1965

Contents
Theatre Design & Technology - Oct 1965 - 1
Theatre Design & Technology - Oct 1965 - 2
Theatre Design & Technology - Oct 1965 - 3
Theatre Design & Technology - Oct 1965 - Contents
Theatre Design & Technology - Oct 1965 - 5
Theatre Design & Technology - Oct 1965 - 6
Theatre Design & Technology - Oct 1965 - 7
Theatre Design & Technology - Oct 1965 - 8
Theatre Design & Technology - Oct 1965 - 9
Theatre Design & Technology - Oct 1965 - 10
Theatre Design & Technology - Oct 1965 - 11
Theatre Design & Technology - Oct 1965 - 12
Theatre Design & Technology - Oct 1965 - 13
Theatre Design & Technology - Oct 1965 - 14
Theatre Design & Technology - Oct 1965 - 15
Theatre Design & Technology - Oct 1965 - 16
Theatre Design & Technology - Oct 1965 - 17
Theatre Design & Technology - Oct 1965 - 18
Theatre Design & Technology - Oct 1965 - 19
Theatre Design & Technology - Oct 1965 - 20
Theatre Design & Technology - Oct 1965 - 21
Theatre Design & Technology - Oct 1965 - 22
Theatre Design & Technology - Oct 1965 - 23
Theatre Design & Technology - Oct 1965 - 24
Theatre Design & Technology - Oct 1965 - 25
Theatre Design & Technology - Oct 1965 - 26
Theatre Design & Technology - Oct 1965 - 27
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Theatre Design & Technology - Oct 1965 - 36
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