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6Both the musical score and Flimm’s staging are finely crafted and offer a wealth of compelling aural and visual material. At its best, the overall effect was akin to a sublime landscape painting rich in detail and impressive in its scope.
Die Einschübe aus Stradellas Kantaten und Opern in „Ti vedo, ti sento, mi perdo“ erzeugen bisweilen jenen Raumklang, auf den das Publikum zumeist vergeblich wartet. Selbstredend sind auch die sich in die musikalische Vergangenheit öffnenden Fenster von Sciarrino deutlich überschrieben im Sinne einer Aufarbeitung der 400-jährigen Operngeschichte. Dazu häufen sich auf der Bühne absurde Momente, die situativ an Pirandellos „Sechs Personen suchen einen Autor“ ebenso erinnern wie in der Operncollagentechnik an John Cage. Und wie bei „Warten auf Godot“, so warten auch die Akteure (darunter ein arg redundantes Kinderballett) dieser Handlung vergebens auf Stradella – er kommt definitiv nicht!
Moreover, the grandeur and ambition of work, production, and orchestral performance notwithstanding, not to forget the work of the excellent chorus, there was something winningly intimate, in the opéra comique tradition to what we saw and heard from the singers on stage. That is not to suggest a lack of vocal scale, but simply to point to their convincing performances as characters on stage. If Roman Trekel and Wolfgang Schöne both proved somewhat dry and stiff, the rest of the cast more than compensated. Peter Sonn’s Max was fresh toned, enthusiastic, vulnerable, Falk Struckmann’s Kasper very much his dark, virile antagonist (even, in this context, alter ego?) Anna Samuil gave perhaps the strongest performance I have heard from her as Agathe, exhibiting a fine sense, scenic and vocal, of tragic catastrophe before the last. Anna Prohaska’s more colourful, spirited Ännchen, despatched words and coloratura not only with ease but with intent and meaning. Performed in this new ‘version’ without an interval, the work emerged, Goldilocks-like, just right: neither too short nor too long. That, however, should remain a dark fairy-tale for another day.
Olaf Schmidt shakes a strong cocktail of emotions with Mozart's 'Così fan tutte' in the Lüneburg Theater. (...) Everything fits. The balanced quality of the quartet of lovers is the guarantee of success. Celine Akçağ, singing seemingly effortlessly, gives Dorabella something ethereal. Rebekka Reister descends with a warm, sensitive tone deep into the anguish of the soul that is actually in 'Così'. Those are very intense moments. Christian Oldenburg often gives the Guglielmo something lanky, research, with Guillermo Valdés feigned despair and perceived passion come into their own. The two other games are played with noticeable fun in the humor. Ulrich Kratz (...) sings Don Alfonso with a smug undertone as a cold gamer who doesn't care about suffering and love. Franka Kraneis (...) whirls cheekily and happily across the stage as Despina, also has room for solo shine (...) Thomas Dorsch ensures a transparent, often stormy sound, which makes the quieter phases all the more intense. It is the motivation of the musicians as well as the off-screen choir to be heard. The joy of being able to get started again plays a role in this evening, which is celebrated with standing ovations.
Inappuntabili i giovani del coro a sei voci...Massimiliano Mandozzi,...
Incisivi i numerosi interventi del Coro a sei voci composto da Massimiliano Mandozzi...
