Ruth Berghaus / Рецензии

The young Achim Freyer’s design is a marvel of ingenious simplicity. The floor of the stage is white with thinly etched black lines. An area in the centre of the stage is enclosed by a square of white curtains, an image of a Seville street gently etched upon them. These curtains are opened and closed to allow access to action, which floats playfully above concrete concerns of verisimilitude. The music lesson’s harpsichord is an ingenious trompe-l'œil box; the storm is enacted with the simplest and most effective means.