The central theme of „Four Minutes“, the film which made his name, is music, the difficult connection between creativity and discipline, freedom and the need for regulations. Now the moment has come for Chris Kraus (born 1963 in Göttingen, studies at a film and television academy in Berlin) to turn to the theatre. It is the first time that this representative of the new German film (who, with Henckel von Donnersmarck, he is) directs an opera. And that under ideal conditions as the conductor is Claudio Abbado and the opera Fidelio (given at Teatro Valli, Reggio Emilia on 6th & 8th April; Madrid on 19th, 21st & 23rd April as well as at Baden-Baden on 3rd, 5th and 8th May with later performances planned for Ferrara and Modena).

How was your first meeting with Claudio Abbado?
I did not know him at all, had never met him. He came up to me, smiling and friendly. We started to work immediately, but it was not really work, it was more like a game. We did not speak about Fidelio straight away, but about the “Fidelio world”. That was necessary as a start into such an adventure. I told him my thoughts, in particular about the finale and he agreed. If you must tell a prison story you may not show the prison. I suggested something – he did not reject it. That was the beginning of the adventure.

What were your feelings when you were requested to direct Fidelio?
When I received this phone call I first thought it was all a mistake. It is a great honour to be contacted by Claudio Abbado. I still have not quite got over it.

How do you work together?
Without preconceived ideas. I am very happy that Claudio Abbado had the great courage to work with this German boy who has never done an opera before. I just adore his courage. He is a man who loves challenges.

Do you like opera?
To be quite honest I never liked opera because for me this was not a modern way of expressing oneself – and this was the first thing I told Abbado. I said I was perhaps not the right person.

And what did Abbado reply?
That this was exactly what he wanted: to work with somebody who came from different experiences. This was my first approach to opera.

And now?
Now I am a Fidelio-fan. I think of it 500 times a day. I cannot tell you what I like most about it. Because Fidelio is a whole world. I love the finale of each act, but you cannot take the opera in bits and pieces. I have learnt that you must take it as a whole.

The values important in Fidelio do they make sense today?
This is a question I asked myself when I started work on this opera, when I listened to it for the first time, when Abbado explained the music to me. Indeed, the old values are not dead. The wish for freedom, the recognition of civil rights are subjects which are still very current. What has changed immensely is the believe in a better world. This has not disappeared completely, but it diminishes from year to year.


What do you like in Beethoven?
What I particularly like is the magic connection between darkness and energy. I have used extracts from Beethoven for some of my films, before “Four Minutes”, because I love German symphonic music. Here you have my link to the theatre. I always preferred it to opera, it arouses in me feelings, great emotions.

Music is important in “Four Minutes”
In all my films music plays an important part, but in “Four Minutes” it has the leading role. I was thoroughly tired of seeing films which were destroyed, so to say, by incorrect music. According to me music is the link between the head and the heart, it penetrates directly in us.

A bit like in opera?
In Fidelio the music is better than the libretto. All our effort is concentrated on finding a balance between the music and the text. In the opera the central idea, that of the wish for a better world, is explained in plain language. But it is the music that says it all – the contents, characters, passions, pains, loves…

Creation date : 29/03/2008 @ 13:09
Last update : 30/03/2008 @ 23:32
Category : Abbado in the media
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