Aveline Kirana
Christoph von Bernuth, a figure of considerable experience in the realm of Baroque opera, has been at the helm of the International Handel Festival at Badisches Staatstheater Karlsruhe for the past year and a half. His tenure follows a distinguished nearly two-decade engagement with the Innsbruck Early Music Festival, where he collaborated closely with René Jacobs, solidifying his reputation as a leading expert in Baroque opera production. Prior to his current role, von Bernuth served as Deputy General Director at the Oldenburg State Theatre and has established himself as an accomplished director with a diverse staging repertoire spanning composers from Purcell to Korngold. OperaWire recently engaged with von Bernuth to delve into the artistic philosophy guiding his curation of the prestigious festival.
A Legacy of Baroque Expertise Finds a New Home
Von Bernuth’s arrival in Karlsruhe signifies more than just a new directorial appointment; it represents a continuation and refinement of a festival with a rich history. “Coming here not only to serve as the Opera Director for the theatre but also to take over and continue refining the Handel Festival has been an immense honour for me,” he stated, reflecting on his initial motivations. His deep-seated connection to the Baroque era, cultivated over 15 years of collaboration with René Jacobs at the Innsbruck Early Music Festival, provides a solid foundation for his artistic direction. This long-standing immersion has fostered a profound understanding and appreciation for the nuances of Baroque performance practice.
The festival boasts a remarkable ensemble, the Deutsche Händel-Solisten, a Baroque orchestra specifically formed for the Karlsruhe event. Von Bernuth highlighted the exceptional longevity and dedication of many of its members, noting that "many of them have been cultivating their craft here for over 30 years. It’s truly wonderful.” This established core of musicians represents a vital continuity, ensuring a high level of expertise and a shared artistic vision. The presence of such seasoned performers allows for a level of artistic synergy that is crucial for authentic Baroque interpretations.
Nurturing Talent Amidst Established Brilliance
While the festival champions established masters of Baroque music, a significant aspect of von Bernuth’s artistic vision is the deliberate cultivation of emerging talent. This dual focus ensures both the preservation of tradition and the dynamic evolution of the genre. “Yes, but it is not just a reunion. Of course, it must be a fusion,” he explained, emphasizing the need for a balanced approach. “So, we try to present the top masters in this field while simultaneously discovering and nurturing a new generation of talent.”
A prime example of this commitment is the inaugural Farinelli International Singing Competition for Countertenors (Farinelli-Wettbewerb für Countertenöre) held the previous year. The competition proved to be a fertile ground for identifying promising young singers, with Dennis Orellana from Honduras emerging as the winner at the age of 23. Von Bernuth underscored the competition’s impact: "this was a massive step for his career." Such initiatives are critical for the future of Baroque opera, providing a vital platform for young artists to launch their careers and connect with the established Baroque music community.
Karlsruhe’s Distinctive Voice Among German Handel Festivals
Germany hosts three prominent Handel Festivals: in Halle, Göttingen, and Karlsruhe. Von Bernuth acknowledges the unique standing of each, preferring to frame their relationship not as competition but as a celebration of diverse approaches to Handel’s oeuvre. “Yes, I know. But every festival has its unique standpoint,” he remarked. “I believe this is a matter of tradition—in two years, we will celebrate the 50th anniversary of our festival. So, I don’t want to make too many comparisons. We all love Handel, and we try to find different ways to present Handel’s work.”
Karlsruhe’s distinctive curatorial strategy, as articulated by von Bernuth, centers on a deep engagement with a chosen quote from a central production. This year, the festival’s thematic framework was derived from a sentence extracted from the libretto of "Tamerlano." This quote not only informed the overall tone of the festival but also guided the selection of directors and artists. “This is also the approach we plan to maintain in the future—delving deep into the main production and unearthing the core themes of the work,” he affirmed. This method ensures a cohesive and intellectually stimulating festival experience, where individual programs and performances resonate with a unifying concept.
Thematic Resonance: "Liberation" and the Fight Against Tyranny
The chosen theme for the current festival, "Liberation" and "standing up against tyranny," permeated every aspect of the programming. Von Bernuth explained how this central idea influenced the curation of concert programs, with conductors and musical leaders being tasked to create programs that echoed this theme. “Consequently, you can find forms of expression related to this in almost every concert and every activity we held this year,” he stated.
An innovative element of this year’s programming was the juxtaposition of contemporary and Baroque music. The opening concert, for instance, aimed to contrast these seemingly disparate genres within a single performance. This approach aimed not only to reflect contemporary societal concerns but also to explore the "liberation of music" itself, examining how modern compositions engage with and reimagine Baroque themes. This cross-temporal dialogue fosters a richer understanding of music’s enduring power and its capacity for reinvention.
Installation Art and Interdisciplinary Exploration: "The Cage"
The festival’s commitment to interdisciplinary engagement was evident in the inclusion of installation art. Fahar Al-Salih’s “The Cage,” a striking installation comprised of approximately 500 wooden cages, served as a powerful physical manifestation of the festival’s thematic concerns. “This perfectly embodied the effect we wanted to achieve: making freedom and restriction physically perceivable,” von Bernuth explained. Beyond its artistic merit, the installation carried a significant philanthropic dimension, with proceeds from the sale of the cages designated for charitable causes. The hope, as von Bernuth articulated, was that the act of purchasing a cage would symbolize support for those in need, rather than literal confinement.
Evolving Audiences and International Appeal
Addressing the composition of the festival’s audience, von Bernuth acknowledged that while opera attendance traditionally skews towards an older demographic, there are encouraging signs of broader engagement. The appeal of artists like Maayan Licht, described as a “rock star” figure who commands enthusiastic audiences, demonstrates the festival’s ability to attract younger patrons. “He has a very large crowd of followers and is a perfect example of the new generation of singers and audiences. The best part is that through him, the older and newer generations of audiences are linked together,” von Bernuth observed.
The "International" in the festival’s title is not merely nominal; the audience is indeed diverse. The programming of French Baroque works, such as Rameau’s "Les Boréades," leverages Karlsruhe’s proximity to France, drawing significant attendance from across the border. This cross-cultural exchange extends to the artists themselves, who engage with performances by their colleagues, fostering a vibrant artistic ecosystem.
The Enduring Power of "Tamerlano"
The festival’s core production, Handel’s "Tamerlano," has a significant history within the current programming cycle. Its presentation as a staged version in 2026 follows a successful touring concert version the previous year. This extended engagement with the work offered significant advantages, both financially and artistically. “This means the orchestra had already performed it many times before arriving in Karlsruhe,” von Bernuth noted. “This is not only financially advantageous, but because the orchestra has rehearsed many times and is very familiar with the work, I believe the final musical result reached a peak.”
The casting for the staged "Tamerlano" saw some adjustments from its concert iteration. Von Bernuth explained that while one singer withdrew due to a scheduling conflict, the primary driver for casting decisions was artistic suitability for the grand theatre space. The selection of Christophe Dumaux for the titular role was a deliberate choice, lauded for his "gifted singing" and "finest acting." Similarly, the decision to cast a soprano with greater vocal power for a major role was made to ensure optimal projection within the acoustically demanding theatre.
The Profound Influence of René Jacobs
The presence of René Jacobs at the festival is a significant artistic highlight. Von Bernuth regards him as one of the preeminent figures in Baroque music, whose "understanding of this type of music and this work, as well as the depth of his scholar research into the piece, is staggering." Jacobs’ meticulous preparation, including extensive desk work before formal rehearsals, is a hallmark of his approach.
The collaboration with the Freiburger Barockorchester, an ensemble with which Jacobs has a decades-long artistic partnership, is described as "incredible." Their rehearsals are characterized by a "high degree of discipline and coordination," leading to performances of "incomparable intensity." Jacobs’ dedication to finding the most accurate musical expression for every word, informed by a deep understanding of historical context, composer biography, and the original performance circumstances, imbues his work with a unique depth and authenticity.
Expanding the Countertenor Repertoire and Challenging Stereotypes
The decision to incorporate post-WWII contemporary music into the Farinelli Competition reflects von Bernuth’s ambition to broaden the perceived vocal capabilities of countertenors. "I want to show that the vocal range of a countertenor is far broader than what the public perceives," he stated. The inclusion of works like Benjamin Britten’s "A Midsummer Night’s Dream" demonstrates that the countertenor repertoire extends far beyond Baroque coloratura arias.
Von Bernuth also engages with the evolving discourse around gender representation in opera, drawing a parallel between the established practice of women performing male roles and the potential for countertenors to perform female roles. He poses the provocative question: "Why is that? This is a very interesting subject." The performance of Handel’s "Atalanta," featuring Dennis Orellana in a core role and a female singer in a mezzo/alto part, highlights the often-indistinguishable vocal qualities that challenge traditional gendered assumptions. A blind listening test, as playfully suggested, could serve as a compelling experiment to challenge these perceptions.
Fostering a Culture of Discovery and Collaboration
Drawing from his successful experience in co-founding the Cesti Competition in Innsbruck, von Bernuth is keen to establish a similar artistic incubator in Karlsruhe. The Cesti Competition’s "incredible success" has inspired a vision for the Karlsruhe festival to serve as a platform for young artists discovered through such initiatives to perform in staged productions. While acknowledging the challenges of sustaining an all-countertenor production, the overarching goal is to provide opportunities for artists like Dennis Orellana and Rémy Brès-Feuillet, the competition’s runner-up, who have since received numerous invitations for Baroque performances.
Navigating the Landscape of Cultural Funding
Von Bernuth candidly addressed the perennial challenge of cultural funding. He acknowledged the "Sword of Damocles of the budget" that looms over cultural institutions. However, he stressed the festival’s indispensable importance to the theatre and the city, stating, "we will never give it up." The festival’s financial model, he explained, relies on a combination of public funding and significant contributions from the Karlsruhe Handel Society. The relatively modest budget and the crucial role of box office revenue underscore the festival’s cost-effectiveness and its deep-rooted commitment to its mission.
The Impact of Infrastructure Renewal
The ongoing renovation project at the Badisches Staatstheater promises a significant enhancement of the festival’s infrastructure. Von Bernuth anticipates a "more powerful new environment" with upgraded rehearsal halls, festival rooms, studios, and orchestra rehearsal spaces. While the current facilities are functional, the modernization will unlock new technical possibilities and elevate the overall production quality. The impact of these improvements on future productions and the festival’s overall capacity for innovation remains a subject of anticipation.
Extending the Festival’s Reach into the City
A strategic objective of the festival is to expand its presence beyond the theatre walls and into the wider city. By holding concerts in churches and libraries, the organizers aim to engage new audiences and introduce Baroque music to those who may not typically attend opera. This decentralization strategy seeks to make the festival more accessible and to foster a broader appreciation for the genre. While Karlsruhe may not possess the abundance of unique venues found in larger cities, the initiative reflects a commitment to integrating the festival into the urban fabric.
Forging Artistic Partnerships
Looking ahead, the International Handel Festival is actively pursuing collaborations with other institutions. A confirmed co-production with the Bayreuth Baroque Opera Festival for the upcoming year marks a significant step in this direction. Discussions are also underway for further co-productions in 2027 and 2028, signaling a strategic approach to expanding the festival’s reach and impact through shared artistic endeavors.
