Pregledi pretekle produkcije
4Susanne Serfling als Senta, die auch die in der Urfassung noch unbequemer, weil höher liegende Ballade der Senta ohne Einbrüche meistert, mit ihrer Stimme Tiefentauchgänge ebenso glückhaft absolviert als auch die geforderten Höhenflüge und dabei noch sehr glaubhaft eine kindhafte Manisch-Depressive darzustellen weiß.“
Bravourös geht Susanne Serfling die Senta von der ersten Note an, behauptet sie mit hoher und gleichbleibender Intensität. Sie lässt keinerlei Zweifel an ihrem Können im Fach Dramatischer Sopran aufkommen, ist in jeder Sekunde dieses traumatischen Furioso stimmlich und darstellerisch präsent. Eine große Leistung
The Theater Hagen is now showing Anatevka ( Fiddler on the Roof ) as a life-packed milieu study somewhere between tragedy and comedy. The production is already a theatrical success at the premiere, which was not experienced in Hagen for a long time, even before Corona. The audience immediately stands up and applauds a committed ensemble and an excellent orchestra. […] Anatevka is the first production in 18 months that the Hagen Theater has been able to show with a full cast; Over 50 participants, soloists, almost all guests, the great, individually led choir, ballet, extras act on the stage, 30 musicians play in the pit with the conductor, and the audience enjoys the opulent performance with the many dance numbers.
o, this Anatevka, situated somewhere in the Ukrainian no man's land, was never beautiful. Poverty, gossip and gossip characterize life, and the coexistence of the Jewish community with the Christian-Russian community in 1905 works more poorly than well. At best they avoid each other, at worst they bully each other. And what is held up as "tradition" cements the hierarchies. It's not a folkloric idyll, but a run-down shtetl, a small town district - Tevje, the main character, is a milkman and not a farmer. Director Thomas Weber-Schallauer points this out in the program booklet, and the unadorned stage with faceless house facades that seem to overwhelm life (stage design: Alfred Peter) underlines that although the rapid change between indoor and outdoor spaces sometimes looks quite improvised. The clichés of Jewish coexistence shouldn't be used excessively, whereby the costumes (Yvonne Forster) are quite traditional - and the choreography (Ricardo De Nigris), who tries very hard anyway, can't think of much else. But all in all, it manages very well to keep the balance between a world that never heals but is nevertheless secure and the reality of expulsion and homelessness in which the play ends.
