Preparing for my next part, I catch myself trying to bring Carl Maria von Weber’s ‘Der Freischütz’ to a human, more comprehensive level. I am searching for explanations in the ghastly and diabolical visions that come from the drugs that are given to Max by Kaspar. I also envision that Agathe’s ideal love is a result of naivety, and that Max’s devotion to his fate is a result of fear and being overburdened.
But Weber, in fact, offers the clarity of a folk song and uses a style of exaggeration, without compromise*, as a chance to ignore intellectual concerns and explicable behaviour.
Weber understood how to bring the listener to the level of his art and to show the human soul with all its great ideals and terrible abysses. In this world, the essentials of all questions appear in full clarity and reject narrow minded psychological thoughts.
The only chance for this performance is to find trust in the lyrics and the music, to trust the intensions of the composer, to speak and express the words and melody as clear as they are written and to observe yourself turning into a child, which is what the opera wants you to do. On this basis you can start to tell your own version of ‘Freischütz’ without losing its essential meaning: that the ideal of good exists in humans who are also constantly searching for it.