While having to choose an image in order to describe the work of Henning Brockhaus by using a synthetic and symbolic approach, my thoughts fly immediately to that huge expanse of mirrored panels that by degrees slope upwards from the stage to become the incredible backdrop of La Traviata, in one of the most important editions ever staged live, in a joint design project with Josef Svoboda, for the 1992 summer season at the Sferisterio di Macerata in Italy. Thereafter popularly known as the “La Traviata of the mirrors”, many theatres have added it to their season’s playbill...
The theatre of Brockhaus is by no means inert: it is a theatre that begs intense participation, empathy, reflection. But besides the social aspect, which would require a less complex and more immediate analysis (as the opera’s values are evident, explicit, and so to recognise this and take sides is generally an intuitive response) there is the exploration of cultural values to consider. And this aspect surprises every time, at every staging. Because it denotes an examination of deeply embedded roots and a finely tuned perception towards indications from both the composer and the librettist that call for experience and dedication in order to be received and understood. (Excerpt from the text by Carla Moreni: “The roots of dramatic aesthetics in the work of Henning Brockhaus”)
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