Tobias Kratzer: “On the road to Cliffhänger”

Wagner’s Opernvierteiler is the Renommierstück of all Intendanten and Generalmusikdirektoren. It has been a year since the “Ring des Nibelungen” by Andreas Kriegenburg and the Bayerische Staatsoper created a new version of the Hauptwerks in Munich. Am Sonntag hat der first part, “Das Rheingold” premiere at the Nationaltheater. Vladimir Jurowski directs, Tobias Kratzer is responsible for the writing.

AZ: Herr Kratzer, after my review, has been a silent representation of the Tetralogy for the entire 25 years. After Patrice Chéreau’s Bayreuther “Jahrhundert-Ring” and the Stuttgarter “Ring” with four registrations from 1999, it has been such a long time. Buy Sie das?
TOBIAS KRATZER: In Stuttgart the loner has to make a different distinction, and also when the idea starts with the four registrations of a coup war. Chéreau is of course naturally weighty. To do this you will need to add a large amount of water. If other people are divorced, that’s a good understatement. Start by starting the Wochenende Mailänder Scala with a new “Ring”, such as Calixto Bieito and Barrie Kosky who are given new impetus.

Tobias Kratzer was born in Landshut in 1980. After an abgeschlossenen Studium der Kunstgeschichte in Munich and Bern, Kratzer studied at the Bayerischen Theaterakademie Schauspiel- en Musiktheaterdirecting. 2019 brought “Tannhäuser” in Bayreuth here, in Munich Mieczyslaw Weinberg’s “Die Passagierin” appeared at the Nationaltheater. 2025 with Kratzer Intendant der Hamburgische Staatsoper.

from IMAGO/Funke Photo Services

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There are several punks at Chéreau war wohl, the Götter nach Wieland Wagners archetypes as people who weld. If capitalist music criticism is no different. Who knows what’s there?
If Chéreaus Inszenierung herauskam, war dies in a frühcapitalist world of 19. Jahrhunderts and Nieuw. Joachim Herz scheint kurz davor in Leipzig The representation of his knowledge, aber diese Inszenierung is een weniger intestinal documentation. The more we find, how Chéreau walks the figures in living and living life. On the stage were large, unmittelbar nachvollziehbare human emotions said. Man spürt, that Wagner was a dramaturge of Shakespeare’s war, and not a hindered philosophy. And it is the nachhaltigere Wirkung of Chéreau’s Inszenierung über the post-Marxist Deutung hinaus, that has its heute File.

“Für meine Lesart is wichtig, dass die Götter Götter bleiben”

The multiplication of the figures you can create, those Götter and Heroes will keep all people moving – until your caricature as Wirtschaftsboss.
For my teacher it is important that the Götter remains Götter. If you have a specific problem, the problem cannot be solved: it will be unclear. If we cause problems, it is a lethargic problem that the problems in the Ewigkeit shift. In the event that an extreme fall occurred, your human was at work, but that is never a moment when you finally think. It is possible to discover a creative art, which is unendlichkeit etwas fell Schrecklicheres as Sterblichkeit sein könnte. That aspect was not present in any Rolle in “Rheingold”. He first comes to Tragen in the “Walküre”.

Stephen Gould as Tannhäuser in Tobias Kratzer’s Bayreuther Inszenierung.

from photo alliance/dpa/Festspiele Bayreuth

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Is there a thorough development? Is it one of your own standard activities?
Zuletzt would make the autonomy of the Einzelwerke stark concrete. If I stop with a previous one, then here is a house with a larger roof a longer time and a greater chance: The “Ring” is for a large 16-piece Erzählung. The “Rheingold” paints the Grundkonflikt, a starblicher on a few weeks ago – first of the Rheintöchtern, then of the Göttern. A person who has been given their own position and how they can both fit together.

Tobias Kratzer, before the Hamburgische Staatsoper, died on August 1, 2025.

from photo alliance/dpa

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The conflict also includes Wotan and Alberich.
It would no longer be possible to use so direct ausgesprochen. If it is not so, Alberich will be a gentleman who rests Wotan and who will have very great consequences. It’s a strange thing, it’s an entertaining experience. When Alberich was aware, there is now an Art Lonely Rider or a Schreckgespenst. Auch Wotan tritt – abgesehen vom dRITten Akt der “Walküre” nur allein auf, obwohl wir von Waltraute foutahren, dieses Heer in Walhall hereumsitzt.

“Mich is interessiert, wo Wagner an heutige Debatten anknüpfungsfähig or der politically interesting ist”

In “Rheingold” Wagner presented the Director with all kinds of problems: Unterwasserszenen, a Götterburg, a Regenbogen. Was power man damn it
A single checklist for the Wagner-Oper. A in meiner “Ring”-Inszenierung is all you can see: the theater effects that occur in Nebel, aber yet etwas elaborated Wirkungen. Aber thus fell I can tell: Spear and Helm were born. I’m not dogmatic. One of the first things done is the gold of Magic. It is Wagner who appeals to Matter. And that’s the only man you see.

Klaus Florian Vogt, Irene Roberts and Manni Laudenbach in Tobias Kratzer’s Bayreuther “Tannhäuser”-Inszenierung.

from photo alliance/dpa/Bayreuther Festspiele

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When did Ihre Beziehung zu Wagner begin?
As a youth. You will notice that your work as a director becomes more intense. Any war would not even be Wagnerian. It’s not that I’ve gone through the scriptures, but I can’t find my Prose. And then Wagner says that he has seen the anti-Semitism, the nationalism and the ideas of fraud through the abuse of women. If man is mireflexible by nature, if man once has an idea, man can no longer innate. I am interested in Wagner and his fierce debates or politically interesting ist – with critical Blick.

Tobias Kratzer during a probe at the Royal Opera House Covent Garden.

from photo alliance/dpa/Royal Opera House

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Was war Ihr erster “Ring”?
The last Serie des Lehnhoff “Ring” in Munich. Außerdem der Zehelein-“Ring” der four Directors in Stuttgart.

“In my own insights, everything is done”

Ihr Bayreuther “Tannhäuser” has worked with videos. Do you play a role in “Rheingold”?
Dosiert. Wir haben four Minuten 50 Sekunden Videos. The repetition of the “Ring” version is heard more and more often – you feel the notification of the erzählens.

I am Strudel der Halbwahrheiten: “Die letzte Verschwörung” in the Staatstheater …

X

If you found the item on the brand list, this is the case.

zur Merkliste

Frühlingsfrisch: That new “Carmen” in the Gärtnerplatztheater

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If you found the item on the brand list, this is the case.

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Did you fall after the “Rheingold” flew into a loch? The “Walküre” follows, so man, first the end of the Spielzeit.
If you see the Cliffhanger of the “Rheingold” in the foreground in front of the “Walküre”, the “Ring” will be a greater experience. “Rheingold” could make some major points, but it doesn’t. Ownership is the first of the first Act. One of the best results is that not everything happened.