Innsbrucker Festwochen der Alten Musik / Recenzii

Mit wenigen Mitteln, aber treffsicher schafft Francois de Carpentries eine gelungene Regie und steuert mit seiner Lichtgestaltung ein sehr warmes freundliches Ambiente bei. Fein ausgestaltet ist die Personenführung. Karine Van Hercke lässt wenige Kulissen, zumeist Baumstämme in ihrer Bühnengestaltung von der Decke herunter. Phantasievoll sind ihre historischen Kostüme und Kopfbedeckungen... Musikalisch lässt Chiara Cattani es ebenso schwungvoll und profund ausgearbeitet fließen. Leiden und Leidenschaft bekommen ihre Klangfarbe, Sturm und Junos Unmut ihre Kraft und Urgewalt... Yevhan Rakhmanin verkörpert einen angsteinflössenden Piraten Oralto, der ebenso die Gunst der Nymphe Lucori vergeblich begehrt. Vollmundig und gut geführt ist seine Basstimme, bleibt akzentuiert in der Tiefe und lässt auch Koloraturen sicher zu. Die beiden Countertenöre Vojtech Pelka als Morasto und Nicolo Balducci als Osmino geben sich eine wahre Schlacht der Kopfstimmen mit beeindruckender Leichtigkeit, Fülle und prächtig ausgestalteten Höhen. Chelsea Zurflüh vermag die begehrte Nymphe Lucori geschickt zwischen jugendlicher Koketterie, Anmut und edler Treue zu setzen. Stimmlich ist ihr Sopran trocken hell mit großem Umfang.Eline Welle bleibt als Nymphe Elpina farblos. Berührend mitreißend ist die Erbarmensarie des Narente, die Kieren White sehr bewegend und ausdrucksstark gestaltet. Sein Tenor zeigt sich facettenreich und beweglich mit einem sich gut öffnenden Timbre. Große Begeisterung im ausverkauften Saal.

Viel Energie fließt vom Graben zur Bühne und umgekehrt. Großartig Yevhen Rakhmanin als Oralto, seines Zeichens Inselherrscher und Korsar, nicht minder überzeugend die (in ihren Rollen) identitätsmäßig nicht ganz zuzuordnenden Countertenöre Nicolò Balducci (Osmino) und Vojtětch Pelka (Morasto, der Name ist hier nicht Programm!). Mit Elina Welle als (weiterer) Nymphe Elpina und dem jungen, frischen Tenor Kieran White als altem Schäfer Narete gibt es noch zwei Stimmen, die sich harmonisch ins Sextett einfügen. Mit Inselbegabung, im positivsten Sinne, sind sie alle gesegnet!

“The Persian regent Artaxerse was performed by the Italian bass Federico Sacchi with a melodious-deep voice and an authoritative posture“ (Den persischen Regenten Artaxerse stattete der italienische Bass Federico Sacchi mit wohlklingend-tiefer Stimme und autoritärem Gehabe aus)

“Federico Sacchi has a strong presence, superlative acting skills, a strong and charming voice: in his superb costume he looks like a character straight out of a Rembrandt painting and impresses with authority.” (belle prestance, qualités d’acteur superlatives, timbre d’airain qui à juste titre ensorcelle, son costume superbe l’apparente à un personnage tout droit sorti d’un tableau de Rembrandt, Federico Sacchi impressionnant d’autorité)

"GLI AMORI DI APOLLO E DAFNE" by CAVALLI ~~~ S.Ender derStandard[ translated by german]: "The première on Monday evening at the Courtyard of the Theology Department is a rare operatic pleasure: a pleasure to be heard, a pleasure to be seen. That then also lead to dreaming! And with the evocation of the power of dreams begins the prologue, before the nymph Dafne, who spurns her lover, drifts on her emotions. Director Alessandra Premoli finds expressive images that are intensified by the shadow theater "alTREtracce" and add new dimensions - for example when the house façade is being used. This opens up a dimension of the magical, as poetry flares up, amplified by the music. The costumes by Mariana Fracasso are a dream in white, Alessandra Premoli tells in simple, poetic images the story of a young woman who was hurt and traumatized by male desire. Enthusiasm for all this." ~~~ T. Molke. Online Music Magazine [translated by german]: "To emphasize the aspect of the dream, Alessandra Premoli starts in her presentation in a hospital room or perhaps a sleep laboratory. On a bed lies a woman, Dafne, who receives several injections from an obsessively chewing gum, Amore, while a doctor, who later, among other things, slips into the figure of the scholar Alfesebio, takes notes and talks with the manager of the hospital, the later as goddess Venus (Venere) and acting as Dafne's confidant Filena exchanges. With a white mask, Andrea Pellegrini appears as Sonno and summons his three servants, who are supposed to be mythologically the three sons of the sleeping god.[…] As figures, three shadow theater players of the shadow theater alTREtacce perform, forming an important part of the staging. Time and again, as characters on stage and actors behind the stage, they create wonderful visual effects with impressive shadows that immerse the viewer in a dream world. While it is still relatively bright in the courtyard due to the incident daylight, they appear with masks on the stage and let the awakening Dafne dive into a huge white waving sheet or surround the god Apollo with small lamps with a kind of halo. Musically, this early work Cavallis is a gem. Although the story does not prove to be suitable for the repertoire with the incoherently contiguous scenes, it is definitely worth seeing in this imaginative staging by Alessandra Premoli."~~~ R. Kager, Frankfurter Allgemeine [translated by german]: "With deliberately economical means, the director Alessandra Premoli tells the story of the unfortunate love of Phoebus Apollo, taken from librettist Giovanni Francesco Busenello from the "Metamorphoses" of Ovid, to the nymph Daphne. […] The hospital scenario also corresponds to the historicizing, yet contemporary costumes designed by Mariana Fracasso: All are white, with the exception of Apoll's black jacket and Cupid's equally black wings. This pallor gives the scene a surreal atmosphere even without opulent stage design. Following the principles of Jerzy Grotowski's "poor theater", Premoli focuses on every small movement, every fine movement of young singers, mostly finalists and winners of the annual Cesti singing competition of the Innsbruck Festival, which in some cases takes on some of the twenty or so roles.[…] When, at the end of Apoll's touching lament, laurel branches are placed on the front edge of the stage and the three masked people shine with simple bulbs on them to transform the back of the courtyard into the silhouette of a tree, it suddenly becomes cold despite the heat: only as a shadow Daphne present, watching himself in the deathbed. Blackout."~~~ A. Neilson, Operawire: "The director for this production was Alessandra Premoli, who used the prologue as a source for her interpretation of the work. As dawn is about to break, the god Sonno bids his servants to fill mankind’s minds with dreams, infusing them with symbols and visions, and turning shadows into beasts. It is the time when reality becomes blurred and is in a state of flux. Premoli’s characters, therefore, tread the narrow path between sleep and wakefulness. Shadows in the form of projections against a white-clothed background, and shadowy figures, who double the main characters, lead, terrorize or reflect their semi-conscious states. The drama is set in a hospital of sorts. Dafne lies in a bed in a deep sleep, or coma, while the drama begins to unfold around her. As she becomes partially conscious, so reality continues in a dream-like way, happiness giving way to panic, with bizarre happenings, such as her transformation into a laurel tree, with shadowy visions and apparitions everywhere. It was an excellent idea, that bonded itself to the text seamlessly, and produced an engaging presentation.The costumes, designed by Mariana Fracasso, were simple, but effective and mainly in white, from an indeterminate period, contrasting and complementing nicely the sometimes dark, sometimes bright ambience of the sets. Apollo stood out, having more colourful, more clearly defined attire, giving him the appearance of a pop star, of someone accustomed to adoration. " ~~~ J-F. Lattarico , classiquenews [translated by french]: "A “young” production of high level and a coming back to the 17th century’s repertoire, that since a long time is the trademark of this tyrolean festival. Cavalli comes out with the honour of a almost model success by the choice of a founding opera. The sobriety of the sets, some curtains faintly arranged, the shadow plays and the doubling of certain roles by the actors, remember the importance of the mirror playing this inaugural opera under the metamorphosis’ baroque mark par excellence , orchestrated by Alessandra Premoli, brightened up by the magnificent costumes of Mariana Fracasso, were one of the elements for the success of this juvenile production, for nothing inferior to the “adult” productions." ~~~ Gilberto Mion, teatro (.it), [translated by italian] "We are in a large patio, but with little space for the stage, and the orchestra relegated to a corner. Nonetheless, the lively staging of Alessandra Premoli is dissolved in rhythm, and produces seductive effects. Virtually devoid of scenery, it relies however on the fascination of a back theater of shadows created by the Italian team of alTREtracce. Guessed the simple costumes of Marianna Fracasso." ~~~ V. Mascherpa, Operaclick [translated by italian]: "The gestures of the interpreters are very appreciable due to the direction of Alessandra Premoli, with the help of the elegant shadow projections of the alTREtracce group and of the costumes designed by Mariana Fracasso. The gestures entrusted by Premoli to the interpreters created a series of effective frameworks, that highlighted the situations represented by music and libretto with nonchalant adherence and did not in any way feel the absence of a proper scenographic installation, enough architecture of the courtyard to create the appropriate suggestions of space, with the help of a skillful and not prevaricating lighting." ~~~ Giulia Clai, sipario (.it) [translated by italian] "The direction of Alessandra Premoli, with a series of effective pictures, did not make too much the lack of a spectacular scenographic system, and with the help of skilful play of light, designed by the company aLTREtracce, has created engaging suggestions." ~~~

"... Das junge Sängerensemble begeisterte durch stimmliche Brillanz und schauspielerische Leistung.... ....mit subtiler Leidenschaft, die das Publikum von Beginn an in seinen Bann zog. Allen voran die junge Sopranistin Sara-Maria Saalmann, deren weich timbrierte Stimme neben ihrer attraktiven Erscheinung der DAFNE das richtige Profil gab..." // "... The young ensemble fascinated with vocal brilliance and acting skills.... subtile passion, that directly casts a spell over the public... Above all, young soprano Sara-Maria-Saalmann, giving DAFNE he right profile with her soft timbered voice and her attractive appearance (Online Merker) ------------------------------------------------------------------------------------------------------------------------ "... Da ist zunächst Sara-Maria Saalmann als DAFNE zu nennen, die stimmlich mit ihrem strahlend leuchtenden Sopran und optisch nicht nur den Gott Apollo verzaubert. Mit großer Intensität und gestaltet sie darstellerisch und stimmlich glaubhaft den Wandel von der selbstbewussten jungen Frau, die sich nicht der Liebe unterwerfen will und den sie umwerbenden Gott brüsk zurückweist, hin zu einem verzweifelten Mädchen, das die einzige Rettung in der Verwandlung in einen Baum sieht..." // "... First of all, Sara-Maria Saalmann as DAFNE. With her bright soprano and her attractive appearance, she not only enchants God Apollo.... In singing and acting, she creates her part of the self-confident young woman, who.... to the desperate girl, who .... very intense and credible..." (OMM) ------------------------------------------------------------------------------------------------------------------------ "... A strong Apollo and Dafne cast, led by scene-stealing Sara-Maria Saalmann! Without doubt the outstanding performance of the evening came from the soprano Sara-Maria Saalmann, playing the role of DAFNE. Dressed throughout the evening in a white hospital gown, Dafne slips and slides between ehr waking and sleeping realities, as she engages with Apollo’s attentions, and those of other characters .... From her first line “O più d’ogni ricchezza” the beautiful quality of her voice was apparent; lines were smoothly and joyfully enunciated, full of subtle embellishments. It is a long and demanding scene in which Saalmann's voice is required to sparkle, and indulge itself in a colorful display of vocal gymnastics – and she did not disappoint. She danced nimbly across the score with grace and flexibility, raced nimbly up and down the scales in scintillating coloratura displays, which always erred on the side of charm; her phrasing was delightful on the ear, characterized by clarity, nuanced variations in tone and dynamics, and above all, by the wonderful flexibility of her voice. As the drama progressed, so the dark side of her semi-conscious dream-state started to impose itself, and her anxiety and fears began to become more pronounced. Shadows wrapped themselves around her, and Apollo’s attentions became oppressive. Sallmann captured Dafne’s changing emotional state wonderfully, infecting the vocal line with a greater degree of agitation and disquiet in a fine expressive display..." (Operawire) ------------------------------------------------------------------------------------------------------------------------ "... Sara-Maria Saalmann... DAFNE... Die Mischung aus Unschuld und Ungebändigtheit, mit der die gebürtige Spanierin die Nymphe gibt, ist stimmig; berührend auch ihr Sopran...." // "... Sara-Maria Saalmann as DAFNE.... She plays her part credible with a mixture of innocence and unrestraint... also touching her soprano..." (Der Standard) ------------------------------------------------------------------------------------------------------------------------ "... Sara-Maria Saalmann als ebenso attraktiv aussehende wie geschmeidig singende DAFNE gelingt es wiederum, die heiklen Übergänge vom Liebestraum zur Krankenhauswirklichkeit gekonnt zu vermitteln...." // "... Sara-Maria Saalmann was an attractive looking and smooth singing DAFNE, who perfectly manages to make the sensitive changes between the love-dream and the reality of the hospital credible..." (FAZ) ------------------------------------------------------------------------------------------------------------------------ "... Sara-Maria Saalmann begeisterte als DAFNE..." // "... Sara-Maria Saalmann impressed as DAFNE..." (Der Opernfreund) ------------------------------------------------------------------------------------------------------------------------ ".... aber Sara-Maria Saalmann setzt DAFNES Liebe zum Leben und die Abscheu vor Apollos Drängen in souverän zarte, verletzliche Phrasen um - und spielt die verschiedenen Phasen der Erkenntnis des eigenen Todes wunderbar berührend und poetisch...." // "... but Sara-Maria Saalmann manages to put DAFNE's love for life and the disgust against Apollo's push in sovereign soft, fragile phrases, and plays the different phases of her finding and he own death wonderful touching and poetical..." (Die Presse) ------------------------------------------------------------------------------------------------------------------------ "... Ein Highlight zum Schluß der Innsbrucker Festwochen: Cavalli's "Gli amori d'Apollo & di Dafne... Ausgezeichnete Stimmen.... allen voran Sara-Maria Saalmann... Musikalisch differenziert, temperamentvoll...." // "... A highlight at the end of the Innsbrucker Festwochen: Cavalli's <Gli amori d'Apollo & di Dafne>.... wonderful voice, in first line Sara-Maria Saalmann as Dafne...." musically differentiated and vivacious..." (Deutschlandfunk Kultur) ------------------------------------------------------------------------------------------------------------------------ "... Unter den 25 hervorragenden jungen Solisten ragen vor allem Sara-Maria Saalmann als DAFNE und .... heraus...." // "... In the group of 25 great young soloists, Sara-Maria Saalmann as DAFNE and... stood out..." (Dieterscholz. de) ------------------------------------------------------------------------------------------------------------------------ ".... Auf der Bühne ein großes, junges Ensemble, mit Sara-Maria Saalmann, deren klares Timbre der DAFNE gut steht...." // "... On stage a huge, young ensemble with Sara-Maria Saalmann, whose clear timbre suits DAFNE very well..." (Tiroler Tageszeitung)

D'altra banda, Anna Alàs i Jové, segon premi del concurs, era la deessa Diana. La jove mezzosoprano egarenca està desenvolupant el gruix de la seva activitat a l'àrea germànica (algun dia m'hauré d'estendre sobre les portes tancades que els cantants catalans es troben al seu país), i no li falten qualitats per dur a terme una bona carrera: una veu càlida i flexible, una musicalitat escrupolosa i una presència escènica lluminosa.

Anna Alàs i Jové gibt der Diana ambivalent-erotischen Charakter, singt mit beeindruckendem Ausdruck und absolut sicherer Phrasierungskunst.