Messiaens „Saint François d’Assise“ in Salzburg: Alle Vöglein sind schon tot

The Salzburg Festival's production of Olivier Messiaen’s Saint François d’Assise concluded with a striking image: a peacock staring silently at the audience after the second act, following three hours of music and a one-hour intermission. The performance had already drawn attention earlier in the evening when dozens of fake birds fell from the ceiling of the Felsenreitschule, the venue known for its dramatic acoustics and architectural grandeur. While these were clearly props, they evoked unease among the audience, given that several bird species whose songs Messiaen incorporated into his opera have since gone extinct, victims of human impact on nature, a theme central to the work. Messiaen’s Saint François d’Assise, composed in 1983 and originally staged in Salzburg in 1992 under director Gerard Mortier, is a monumental piece lasting nearly six hours. This particular rendition ran slightly shorter than anticipated, at 6 hours and 11 minutes instead of the planned 6 hours and 17 minutes, but still demanded immense commitment from the audience. It is not a conventional summer operatic experience but rather a marathon of reflection on faith, art, and the boundaries of existence. The performance took place during a heatwave, adding to the physical challenge faced by attendees who endured long stretches of intense musical and theatrical immersion. At the heart of the production stood Philippe Sly, a bass-baritone portraying Saint Francis of Assisi. His portrayal captured both the spiritual devotion and the existential struggles of the saint, particularly evident in scenes such as when Francis washes the body of a leper, symbolizing compassion beyond human discomfort. The opera traces the journey of a man fully committed to divine love, even when it leads him beyond the limits of life itself. The final act saw the leper return to perform the last washing before Francis ascends to heaven, a moment underscored by the quiet passage of sheep across the stage, indifferent to the audience watching them. The staging by Romeo Castellucci emphasized the existential conflicts of the saint, moving away from romanticized portrayals often associated with religious figures. Castellucci’s direction focused on the rawness of faith and the tension between the sacred and the profane. The set design included elements that reflected the medieval world, such as real loaves of bread being baked, flour fountains sprayed against the walls, and clay vessels crafted by actors. These touches brought authenticity to the production, though some large-scale scenes appeared overly extended and lacked focus. A massive beam hovered ominously over the orchestra and audience during the final act, creating a sense of impending doom. The technical aspects of the production were impressive, with complex stage transformations necessitating the two hour-long intermissions. Despite the intensity, the audience remained engaged throughout, responding with loud applause and scattered boos at the end, though these were likely expressions of perceived obligation rather than genuine disapproval. The performance highlighted the enduring relevance of Messiaen’s work, which intertwines deep spiritual themes with environmental concerns. The extinction of bird species referenced in the opera serves as a poignant reminder of humanity’s role in ecological degradation, a message that resonates strongly with contemporary issues. The collaboration between conductor Maxime Pascal, the Vienna Philharmonic, and the State Opera Chorus demonstrated the high level of artistic excellence required to bring such a demanding work to life. As the curtain fell, the peacock remained motionless, a silent observer to the audience’s reaction. The production left behind a lingering sense of awe and introspection, reinforcing the power of opera to provoke thought and emotion on profound subjects.