Past Production Reviews
1he director Hinrich Horstkotte, who is also responsible for the stage design and the costumes, finds impressive and also beautiful pictures: between a low-lying house as the world of water, in its roofs as the world of longing and the rather completely traditionally designed courtyard puppet-like and unreal pale-white Rusalka, pretty stupid and abusing his power Aquarius - the girls are locked in the house and one day decided: "Sisters, let's flee!" -, permanently confused between two women the prince and career-addicted the "stranger Princess". But what at first glance looks like conventionally pompous furnishings - especially the castle - quickly turns out to be a psychologically differentiated inner world: when the court society celebrating the polonaise apes the mute foreign body Rusalka. The culmination of the use of the revolving stage is the incompatibility of worlds and, more simply, but clearly, snow as a symbol of the non-existent Rusalka feeling.
