Admin

Staatstheater am Gärtnerplatz

Maestro

Maestro (+1)

Rubén Dubrovsky

Diretor de Palco

Diretor de Palco (+4)

Herbert Föttinger

Coreógrafo

Coreógrafo (+2)

Karl Alfred Schreiner

Cenógrafo

Cenógrafo (+2)

Walter Vogelweider

Estilista

Alfred Mayerhofer

Dramaturgo

Dramaturgo (+2)

Fedora Wesseler

Karin Bohnert

Tenor (+1)

Jacob Romero Kressin

Remendado

Barítono (+1)

Jeremy Boulton

Dancaïre

Soprano (+1)

Mina Yu

Frasquita

Mezzo-soprano (+2)

Anna Tetruashvili

Mercédès

Tenor (+4)

Frank Berg

Don Casares

Orchestra

Orchester des Staatstheaters am Gärtnerplatz

Chorus

Chor des Staatstheaters am Gärtnerplatz

Extrachor des Staatstheaters am Gärtnerplatz

Tradutor

Dramaturgo (+3)

Susanne Felicitas Wolf

Extras

Extras of the Staatstheater am Gärtnerplatz

Gärtnerplatztheater

Dançarino (+1)

Almudena Alvarez

Dancer

Ariane Cervantes

Eva Sofía Quant

Noelia Quirós

Designer de Iluminação

Michael Heidinger

Coreógrafo (+1)

Montserrat Suárez

Barítono (+4)

Ludwig Mittelhammer

Moralès

David Spanhel

Lillas Pastia

Baixo-barítono (+4)

Timos Sirlantzis

Escamillo

Soprano (+3)

Ana Maria Labin

Micaëla

Mezzo-soprano (+4)

Sophie Rennert

Carmen

Tenor (+2)

Lucian Krasznec

Don José

Baixo (+5)

Holger Ohlmann

Zúñiga

Soprano (+2)

Mária Celeng

Baixo (+1)

Lukas Enoch Lemcke

Alex Tsilogiannis

Anna-Katharina Tonauer

Barítono (+3)

Daniel Gutmann

Tenor (+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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