Everything is ready on Max-Joseph-Platz in front of the National Theater, the large video wall is up, the food stands are waiting for guests, security can be seen all around the square. They sit on blankets and insulating mats, wear hats and sunglasses on the rather uncomfortable Isar pebbles around the statue of the king. A woman passes the time with knitting. As early as 5 p.m., the first visitors have secured the best seats. When the first high string notes of the Aida overture sound, it is a bit gloomy over Max-Joseph-Platz, the mood is full of expectation.
It’s that time again. “Opera for everyone”, the iconic public viewing. And really everyone can settle down here, however they happen to be. Some etiquette applies to those who follow “Aida” indoors in the State Opera and of course at the reception of the sponsor BMW and the Bavarian State Opera.
There is great anticipation in the Ionian Hall, from which you have a wonderful view of the square in front of the opera. Actors such as Uschi Glas, Michael Brandner and Rufus Beck are looking forward to the Aida, as is the designer Sonja Kiefer. While Uschi Glas is a regular opera goer, it is Sonja Kiefer’s premiere at “Opera for Everyone”. Ilka Horstmeier, board member of BMW and responsible for the cultural commitment, gets enthusiastic about the emotions that the Aida is able to trigger. And the VIPs then enter the performance in such an emotionally exhilarating way.
So “Aida”, actually the ultimate festival opera, suitable for a mass spectacle like no other. In the ancient giant oval of the Arena di Verona, for example, it has already been played about 750 times. And also in Munich, when “Opera for All” was still a very young format, you could experience it on the Max-Joseph-Platz on a large video wall in 1999. At that time, however, in damp and cold weather and in an unconvincing production by David Pountney. More than two decades have passed since then. The view of Verdi’s work is different, the world is different. And so there’s this dark, depressing interpretation of “Aida”. Director Damiano Michieletto shows a war-traumatized society in a bullet-riddled sports hall, limping soldiers on a triumphal march. One wonders, does this heaviness go together with a unique atmosphere, the summery lightness of an open air?
The Bavarian State Opera could have made it easier for itself and the Munich audience – certainly many people who have had their first contact with opera for the first time. culinary. With one of the other premieres of the season, the “Hamlet” opera, for example, very close to Shakespeare’s original, very theatrically, almost cinematically staged. Or with the acclaimed “Semele”, Handel’s baroque opera with great show and bang effects, in which a countertenor does backward somersaults and can hop on one arm.
However, the tradition of the Bavarian State Opera also means that – unlike less courageous houses – it can trust and expect its Munich audience to do something. So this opera for everyone in 2023 is also a great evening, with great music. And next year, if all goes well, there will be “Tosca”, Puccini’s opera thriller. With the dream couple of the past decade: Anja Harteros and Jonas Kaufmann.