Theater Lüneburg / Reviews

"Magnificent pictures, colorful costumes, snappy music, weird characters: Hajo Fouquet stages Jacques Offenbach's 'Ritter Blaubart' as a luscious and lavishly decorated pleasure (...) Stefan Rieckhoff, as Fouquet's loyal music theater partner, provided a very symbolic, overdrawn stage design. (...) Céline Akçağ, the voice of this evening anyway, ensures a serious, intimate moment in the operetta with her colorful aria. (...) Schmeer's lustful, to-the-point, vocally very present action unmask a world that is heading towards doom. The fact that Ulrike Knospe, a comedian of equal standing, portrays the queen as a drunkard and fanatic wearer, is more than understandable with such a husband (...) Sarah Hanikel and Alexander Tremmel are in great shape. In any case, Fouquet and the musical director Gaudens Bieri manage to inspire the team of the house. For example Steffen Neutze, he humps before the king as Count Oscar, but still plays his own game, for example with the victim Alvarez (Oliver Hennes) (...) The audience has a lot of fun with the luscious, rich entertainment, it agrees with long applause and a few bravos . ”

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.