Admin

Staatstheater am Gärtnerplatz

Direttore d'orchestra

Direttore d'orchestra (+1)

Rubén Dubrovsky

Regia

Regia (+4)

Herbert Föttinger

Coreografia

Coreografia (+2)

Karl Alfred Schreiner

Scenografia

Scenografia (+2)

Walter Vogelweider

Costumi

Alfred Mayerhofer

Drammaturgo

Drammaturgo (+2)

Fedora Wesseler

Karin Bohnert

Tenore (+1)

Jacob Romero Kressin

Remendado

Baritono (+1)

Jeremy Boulton

Dancairo

Soprano (+1)

Mina Yu

Frasquita

Mezzosoprano (+2)

Anna Tetruashvili

Mercédès

Tenore (+4)

Frank Berg

Don Casares

Orchestra

Orchester des Staatstheaters am Gärtnerplatz

Chorus

Chor des Staatstheaters am Gärtnerplatz

Extrachor des Staatstheaters am Gärtnerplatz

Traduzione

Drammaturgo (+3)

Susanne Felicitas Wolf

Extras

Extras of the Staatstheater am Gärtnerplatz

Ballerino (+1)

Almudena Alvarez

Dancer

Ariane Cervantes

Eva Sofía Quant

Noelia Quirós

Luci

Michael Heidinger

Coreografia (+1)

Montserrat Suárez

Baritono (+4)

Ludwig Mittelhammer

Moralès

David Spanhel

Lillas Pastia

Basso-baritono (+4)

Timos Sirlantzis

Escamillo

Soprano (+3)

Ana Maria Labin

Micaëla

Mezzosoprano (+4)

Sophie Rennert

Carmen

Tenore (+2)

Lucian Krasznec

Don José

Basso (+5)

Holger Ohlmann

Zuniga

Soprano (+2)

Mária Celeng

Basso (+1)

Lukas Enoch Lemcke

Alex Tsilogiannis

Anna-Katharina Tonauer

Baritono (+3)

Daniel Gutmann

Tenore (+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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