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Staatstheater am Gärtnerplatz

Дирижер

Дирижер (+1)

Rubén Dubrovsky

Режиссер-постановщик

Режиссер-постановщик (+4)

Herbert Föttinger

Хореограф

Хореограф (+2)

Karl Alfred Schreiner

Художник-постановщик

Художник-постановщик (+2)

Walter Vogelweider

Художник по костюмам

Alfred Mayerhofer

Драматург

Драматург (+2)

Fedora Wesseler

Karin Bohnert

Тенор (+1)

Jacob Romero Kressin

Ремендадо

Баритон (+1)

Jeremy Boulton

Данкайро

Сопрано (+1)

Mina Yu

Фраскита

Меццо-сопрано (+2)

Anna Tetruashvili

Мерседес

Тенор (+4)

Frank Berg

Don Casares

Orchestra

Orchester des Staatstheaters am Gärtnerplatz

Chorus

Chor des Staatstheaters am Gärtnerplatz

Extrachor des Staatstheaters am Gärtnerplatz

Переводчик

Драматург (+3)

Susanne Felicitas Wolf

Extras

Extras of the Staatstheater am Gärtnerplatz

Gärtnerplatztheater

Танцор (+1)

Almudena Alvarez

Dancer

Ariane Cervantes

Eva Sofía Quant

Noelia Quirós

Художник по свету

Michael Heidinger

Хореограф (+1)

Montserrat Suárez

Баритон (+4)

Ludwig Mittelhammer

Моралес

David Spanhel

Лилас Пастья

Бас-баритон (+4)

Timos Sirlantzis

Эскамильо

Сопрано (+3)

Ana Maria Labin

Микаэла

Меццо-сопрано (+4)

Sophie Rennert

Кармен

Тенор (+2)

Lucian Krasznec

Дон Хозе

Бас (+5)

Holger Ohlmann

Цунига

Сопрано (+2)

Mária Celeng

Бас (+1)

Lukas Enoch Lemcke

Alex Tsilogiannis

Anna-Katharina Tonauer

Баритон (+3)

Daniel Gutmann

Тенор (+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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