Peter Sellars' Unique Production of Prokofiev's The Gambler at Salzburg Festival

In a striking new production at the Felsenreitschule, seven large roulette wheels, reminiscent of pinball bumpers, dominate the stage, surrounded by a set designed by George Tsypin that features green moss and broken mirrors. The lighting, crafted by James F. Ingalls using Astera PlutoFresnel lamps, bathes the performance in vibrant colors, evoking the cinematic styles of Rainer Werner Fassbinder and Martin Scorsese. Artistic director Markus Hinterhäuser emphasized the contemporary relevance of the gambler as a symbol of modern existential struggles, particularly in relation to climate and societal issues. The narrative unfolds around the character of Panikkar, who plays a tutor entangled in the lives of a debt-ridden general and his love interest, Polina. As the story progresses, themes of addiction and personal struggle emerge, resonating with Panikkar's own family experiences with gambling and alcoholism. The emotional weight of these themes adds depth to the performance, as characters navigate complex relationships and financial desperation. The opera's historical context is significant, with Sellars noting the challenges faced during its initial attempts at production in the early 20th century, including censorship of its erotic elements. The work, originally intended for a 1917 premiere, finally debuted in 1929 and has since been performed in various prestigious venues, including the Bolshoi Theatre. Hinterhäuser addressed the ongoing debate surrounding the inclusion of Russian artists in the festival, highlighting the complexities of cultural representation in the current geopolitical climate.