Frühere Produktionsrezensionen
9... die Ouvertüre, die der Dirigent Ektoras Tartanis druckvoll, mit schroffen Generalpausen gestaltete… der vorzüglich aufgelegte Chor, der die Bluttaten bald expressiv, bald im tänzerischen Taumel beklagt…
Ein aparter Einfall ist es, die Aufmerksamkeit in der ausführlichen (und nicht immer zu hörenden) Ballettmusik der zunächst französischen „Macbeth“-Fassung von 1865 für Momente auch einmal optisch nur auf die Musik zu konzentrieren. Allerdings bietet es sich auch an, die imposante Erscheinung des 1. Kapellmeisters am Pult des Philharmonischen Orchesters Freiburg, Ektoras Tartanis, zu richten und ihn in Großaufnahme einzublenden. Nicht nur hier versuchte er, nicht das Schroffere der ersten „Macbeth“-Fassung von 1847 einzuschleusen, sondern ließ auch die suggestive melodische Melancholie einer Musik der Vergeblichkeit aufscheinen.“
The fact that the ensemble of the Theater Freiburg has been acting at the highest level, especially in terms of vocals, is impressively demonstrated by this production. In addition to the main actors Butterfly and Benjamin F. Pinkterton, sung and played by Irina Jae Eun Park and Joshua Kohl, especially the Characters by Suzuki and Sharpless, who are portrayed more than formidably by Inga Schäfer and Anja Jung as well as John Carpenter. Through their impressive acting and musical achievements, the dramaturgy, which becomes more and more overwhelming in the course of the play, is made even more tangible. (...) " Madama Butterfly" manages in an impressive way to captivate the audience with a current topic and showsthat a form of theater that is difficult to access, especially for young audiences, can be made accessible.
A butterfly has four lives – or rather stages of development. The last two are certainly the most exciting: the chrysalis and chrysalis and the brief existence as a moth. It is only at this stage that we really perceive him in his beauty paired with vulnerability. Like the US naval officer Benjamin F. Pinkerton in Giacomo Puccini's opera "Madama Butterfly", who, impressed by the exoticism and beauty of the title character, "bought" it like a toy, like a doll, in order to relax after a few pleasant hours turn away from her. Without knowing that this "pairing" was not without consequences. Why should he be more interested in this butterfly? Puccini's opera does that. And that is the reason why it has touched us so deeply and painfully ever since the triumph of its revised version in 1904. Because she lets you empathize with the title character and shows insistently what a lack of respect can trigger.
"It's a really great evening at the opera! Under conductor Ektoras Tartanis, the colors change perfectly into one another. Directed by Peter Carp, perfectly synchronized with the actions on stage or vice versa , the actions have been set to the music. The Freiburg theater awaits ... with a complete and well-rounded opera experience."
