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Barrie Kosky: A Visionary in Opera and Theatre

From the whimsical world of the Muppet Show to the profound narratives of Kafka, and embracing everything in between—from Vivaldi to Wagner—Barrie Kosky’s artistic interests are as diverse as they are passionate. The 58-year-old Australian director views art and life as an interconnected tapestry. His enthusiasm for cabaret, clowns, and musicals rivals his deep affection for grand opera and dramatic theatre. “What truly matters is whether it resonates with the soul,” he expresses, his animated personality filling a side room at the Royal Opera House in London just before rehearsals for his new production of Die Walküre, which is set to debut on May 1.

Kosky, originally from Melbourne, has made Berlin his home for 20 years, where he previously served as the artistic director of the Komische Oper and maintains a strong presence. His approach blends humor with incisive insight, producing works that are often provocative, although that’s not his aim. For instance, his controversial choice to dress Carmen in a gorilla suit has garnered a cult following in Frankfurt and Copenhagen, though it didn’t resonate in London. This decision was part of a broader artistic vision that explores the heroine’s journey through extreme personas. Similarly, in his recent production of Das Rheingold, he stirred controversy by casting an 82-year-old woman as Erda, the embodiment of Mother Earth.

In the UK, there exists a notable hesitation around the enjoyment of opera, contrasting with the integral role it plays in German culture. “How can Earth, dreaming and witnessing this story, not be in her own bare skin?” Kosky argues. “Watching older individuals perform is incredibly moving; it makes me reflect on their life experiences and histories. If some people are unsettled by this, that’s on them. After 35 years in opera, I understand that any artistic choice might provoke varied reactions. If people have spent money, they’re entitled to their feelings. It’s not about attempting to provoke the audience at Covent Garden.”

Identifying as a blend of Russian, Polish, Hungarian, English, and Australian descents—his mother hailed from Harrow—Kosky has infused his heritage into his work. Spanning a career that includes key roles at major opera houses worldwide, his past ventures include the creation of Gilgul, a company dedicated to exploring Jewish identity and migration through physical theatre. Recently, his production of Philip Glass’s Akhnaten received considerable acclaim. Following his work on Die Walküre, he will collaborate with renowned mezzo-soprano Cecilia Bartoli on a project inspired by Vivaldi and Ovid, while also preparing a German-Yiddish adaptation of Kafka’s The Trial for the Berliner Ensemble.

A Complex Relationship with Wagner

Despite Wagner’s controversial legacy, particularly with his anti-Semitic sentiments, Kosky continues to engage deeply with the composer’s work. His latest interpretation of the Ring cycle marks his second encounter with Wagner, after an earlier production completed in 2011. His work at the famed Bayreuth festival also included staging Die Meistersinger, integrating a giant puppet and themes surrounding the Nuremberg trials. However, he approaches the UK audience with a different perspective.

“I believe Wagner’s music can be appreciated independently,” he states. “But as a Jewish director, I am faced with the text and its interpretations. The historical weight of Wagner’s legacy is substantial in Germany; audiences are acutely aware of its connections to Hitler. This Covent Garden Ring allows me to shift the focus to themes such as love and storytelling instead.” He adds, “Did Wagner foresee the Third Reich? I don’t think so, but yes, there are deeply troubling aspects to his life and work.”

Another unsettling element in Die Walküre is the incest between twins Siegmund and Sieglinde, resulting in their son, Siegfried. Kosky remarks on the historical context, noting that in some ancient cultures, incest wasn’t taboo. “Wagner wasn’t concerned with notions of good and evil; he delved into primal, mythic themes. In these characters, he created some of his most relatable figures,” he explains.

Nonetheless, the implications of race and eugenics are undeniable. Wagner regarded Aeschylus’s Agamemnon as the pinnacle of drama, revolving around complex sibling dynamics. Such classical narratives profoundly influence Wagner, with the orchestra acting as a chorus, delivering thematic motifs pertinent to different characters.

The Intersection of Music and Direction

Kosky’s background as a trained pianist distinguishes him from many directors, providing him with a unique affinity for the score. His excitement about collaborating with Antonio Pappano, the Royal Opera’s former music director who will conduct the upcoming Ring operas, is palpable. “His assistant once said: ‘Tony is a conductor who occasionally directs, while Barrie is a director who occasionally conducts during rehearsals.’ I get so wrapped up in the music,” he admits with enthusiasm.

As rehearsals approach, Kosky reflects on the current landscape of opera, noting that he is unable to assess if the rising political “alt-right” in Germany has affected engagement with the art form. He acknowledges that while ticket prices are seen as prohibitive, audiences outside of opening night often reveal a different demographic keen on opera’s holistic blend of art forms; “this Die Walküre sold out within a fortnight.” He contrasts this with the substantial arts funding in Berlin, which sits at nearly €1 billion, a stark difference to the situation in the UK.

While he appreciates the UK’s rich tradition in opera, he remarks on a persistent reluctance to embrace it wholeheartedly. “In Germany, appreciating opera is part of the cultural fabric,” he remarks. Kosky believes passionately in the arts’ capacity to enrich lives, suggesting that society must better articulate the economic benefits of cultural initiatives, especially considering that 45% of visitors to Berlin seek out cultural experiences.

For Kosky, returning to the Royal Opera carries personal significance, as it directly connects to his family history. His grandfather once sold produce in Covent Garden, and he finds it poignant to walk through that space daily, reflecting on his family’s roots in Yiddish theatre. “This legacy is palpable; one uncle was a clown, another a composer whose manuscripts I still cherish in Berlin,” he shares.

To him, Wagner’s world of gods, daughters, and complex family dynamics serves as a reflection of humanity itself. “Understanding Nordic mythology or Wagner’s problematic past isn’t necessary,” he concludes. “What matters is being on the edge of your seat, engrossed in the unfolding drama.” With that, Kosky heads off at a brisk pace toward the rehearsal room.

Die Walküre is set to run at the Royal Opera House in London from May 1-17, and will be broadcast live in cinemas on May 14.

Source
www.theguardian.com