Grégoire Delamare / Reseñas

In der Hauptpartie überzeugt Anna Alàs i Jove sowohl schauspielerisch als auch mit sängerischer Ausstrahlung.

Sabine Mäder 's stage is mostly action-oriented. Only the abode of the four friends in the first picture - not an attic room, but a living container - has its acoustic and scenic pitfalls: the otherwise, in the middle to front stage area, excellent transparency and diction of all singers is in the small cubicle, although mostly wallless rear left, about 4 x 6 m in size, greatly reduced. To compensate for this somewhat remote location, a cameraman ( Oliver Lasch) close-ups of the container residents were made on stage, which are projected onto a surface in the right half of the stage, behind which the "Momus" counter is hidden. Not only is the cameraman's scurrying around annoying, but the transmission is also repeatedly chopped up by dropouts and pixelation. On the part of the leadership, the story is told very clearly and straightforwardly on the action and emotional level, and the latter level is also very carefully designed musically. This is the work of Markus Poschner , who lets the Bruckner Orchestra Linz play music precisely and transparently and of course also has the coordination between the pit and the stage perfectly under control.

„[...] Grigorij, den man mit dem strahlenden Tenor von Matthias Koziorowski für den wahren Helden der Oper halten könnte [...]" “[…] Grigorij, who with the radiant tenor of Matthias Koziorowski might be thought to be the true hero of the opera […]”