Admin

Staatstheater am Gärtnerplatz

Direction d'orchestre

Direction d'orchestre (+1)

Rubén Dubrovsky

Mise en scène

Mise en scène (+4)

Herbert Föttinger

Chorégraphie

Chorégraphie (+2)

Karl Alfred Schreiner

Décors

Décors (+2)

Walter Vogelweider

Costumes

Alfred Mayerhofer

Dramaturge

Dramaturge (+2)

Fedora Wesseler

Karin Bohnert

Ténor (+1)

Jacob Romero Kressin

Remendado

Baryton (+1)

Jeremy Boulton

Dancaire

Soprano (+1)

Mina Yu

Frasquita

Mezzo-soprano (+2)

Anna Tetruashvili

Mercedes

Ténor (+4)

Frank Berg

Don Casares

Orchestra

Orchester des Staatstheaters am Gärtnerplatz

Chorus

Chor des Staatstheaters am Gärtnerplatz

Extrachor des Staatstheaters am Gärtnerplatz

Traduction

Dramaturge (+3)

Susanne Felicitas Wolf

Extras

Extras of the Staatstheater am Gärtnerplatz

Staatstheater am Gärtnerplatz de Munich

Danseur (+1)

Almudena Alvarez

Danse

Ariane Cervantes

Eva Sofía Quant

Noelia Quirós

Lumières

Michael Heidinger

Chorégraphie (+1)

Montserrat Suárez

Baryton (+4)

Ludwig Mittelhammer

Morales

David Spanhel

Lillas Pastia

Baryton-basse (+4)

Timos Sirlantzis

Escamillo

Soprano (+3)

Ana Maria Labin

Michaela

Mezzo-soprano (+4)

Sophie Rennert

Carmen

Ténor (+2)

Lucian Krasznec

Don José

Basse (+5)

Holger Ohlmann

Zuniga

Soprano (+2)

Mária Celeng

Basse (+1)

Lukas Enoch Lemcke

Alex Tsilogiannis

Anna-Katharina Tonauer

Baryton (+3)

Daniel Gutmann

Ténor (+3)

Dirk Driesang

"Love knows no bounds”, proclaims Carmen and lives accordingly. But how free is she really? Her encounter with Don José will ultimately be the downfall for them both. Georges Bizet’s revolutionary opera premiered in Paris in 1875 – and was a flop. The composer would never know it was to be his greatest success, and one of the most widely played works of opera literature no less. He died shortly after the world premiere, leaving a classic, which with melodies such as the famous Habanera or the passionate “Flower Song”, has lost absolutely none of its fascination.

Director Herbert Föttinger puts the profoundly psychological web of relationships between the legendary characters front and centre in his staging, and exposes the invisible threads that unconsciously bind Carmen, Don José and Escamillo, but also Don José and Micaëla, and in the game of obsessions concatenate them all with one another. Intensive emotional entanglements are contemplated in the theatrical magnifying glass and heightened by Bizet’s highly dramatic music.

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