Photo credit: Tanja Dorendorf 

(5 / 5)

I would take the plunge and travel overseas for the first time in a decade. In a frozen city, the Staatsoper Hamburg made a piece which got people talking, yet even more attention should have been brought its way. 

Monster’s Paradise is an astounding thing. The collaboration between Olga Neuwirth and Elfriede Jelinek goes back to the mid 90’s, including a surprise version of an opera based on David Lynch’s Lost Highway being noteworthy. I am new to their work and Monster’s Paradise is my chance to see what they do. Neuwirth’s score is so overwhelming in its references and utter violence. In the spirit of Ligeti, there is much humour and I was taken with the unrelenting use of percussion, with Lucas Niggli on drums as a soloist of brilliance. Seth Josel on electric guitar was another highlight in the pit. The orchestra with Titus Engel at the helm remained potent, going up to the pit as everyone was leaving, I was stunned with just how small the amount of players were, even out of tune pianos were included into the fold. 

With director Tobias Kratzer and co-director Matthias Piro, they embraced the deeply silly story and notched it up tenfold. With sets and costumes by Rainer Sellmzier, the total embrace of pop culture references held up as a universal truth. Disney Princesses, The Muppets and Godzilla are clear in their imagery here, no cause for concern with parody as a justified right. Naturally, the main head turn is the character of the Trump like persona Der König-Präsident, with many additional Oval Office trappings. 

With a libretto by Elfriede Jelinek (and additions from Neuwirth), it is razor sharp in its satirical and political cometary. Many acidic nods to both of Trumps terms and the infamous, in-between period are brought up and questioned severely. There are puns and even some I would have missed in the German, yet the near mythical and pop transformation of events are what really stand out. 

This all works immensely well, not taking itself too seriously and also questioning profound issues we have today. Two vampires Vampi and Bampi go across the world, trying to find ways to help and this is when they discover this manic President. Through the aid of the keiju, Gorgonzilla (one of the many puns!), a battle commences between good and evil, clever and stupid, nature vs destruction. The video work from Jonas Dahl and Janic Bebi, aside clever stage craft, is also a delight. There are Trump supporters depicted as Zombies, who also haunt the foyer during intermission. You wouldn’t get this done in the U.K. This much I know. 

The cast are total talent and everyone was perfect for their roll. Vampi and Bampi from Sarah Defrise and Kristina Stanek are our leading ladies of the whole opera. Many funny and touching moments with these two are the backbone. They even have doubles from Sylvie Rohrer and Ruth Rosenfeld who are used in showy was when the two are front and centre. As this twisted President, Georg Nigl stole the show any time he’s on. This is an immensely silly role and he took it with aplomb, singing with shrieks, shouting, attacks and whines. Inflation baby suits, a washboard tie and his golf buggy are some of the many hilarious props to the role. It was an immensely funny thing to see. 

Photo credit: Tanja Dorendorf 

Gorgonzola also got his double: Anna Clementi and in physical form from an amazingly committed Vanessa Konzok. The vast array of modulated sprechgesang through the entire role was shocking, Clementi really doing vocal fireworks. Mickey and Tuckey from countertenor Andrew Watts (I believe the only singer I’ve seen before here) and Eric Jurenas as both acidic wretched Disney icons, servants to their president. A surprising singer Ruben Drole who was not on stage enough, was Ein Bär, a bear in a physical manifestation of the America, often ravaged by his leader. A surprise turn from actress Charlotte Rampling seen on video, framing the stage in double, glistening form as The Goddess. The only extensive English language moments were here, with concerning verse over events on stage, not dissimilar to a Greek Chorus. 

I’m aware there is much more that could be said. I’m also savouring the amusing boxing match between The President and Gorgonzilla, the latter’s rattle used to great effect throughout the night, Melania as a lampshade and the Vampire dolls to show how tiny they are when they see the immense Gorgonzilla. The lucid electronics from Markus Roistering also season the pot, a children’s chorus is also briefly sweet towards the wrap up. The devastating end with Nancarrow like piano MIDI flurries couldn’t have been better. A little bit of trimming in length (two hours, forty five minutes with the break) might have faired better, though there are little quips from this impassioned critic. 

This should have been filmed or at the very least, live streamed for much more to see. It’s popularity both near and also far, has proven potent. 

Listen to Monster’s Paradise on the Opera Hamburg website.