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Staatstheater am Gärtnerplatz

Conductor

Conductor (+1)

Rubén Dubrovsky

Stage director

Stage director (+4)

Herbert Föttinger

Choreographer

Choreographer (+2)

Karl Alfred Schreiner

Set designer

Set designer (+2)

Walter Vogelweider

Costume designer

Alfred Mayerhofer

Dramaturge

Dramaturge (+2)

Fedora Wesseler

Karin Bohnert

Tenor (+1)

Jacob Romero Kressin

Remendado

Baritone (+1)

Jeremy Boulton

Dancaire

Soprano (+1)

Mina Yu

Frasquita

Mezzo-soprano (+2)

Anna Tetruashvili

Mercedes

Tenor (+4)

Frank Berg

Don Casares

Orchestra

Orchester des Staatstheaters am Gärtnerplatz

Chorus

Chorus of the Staatstheater am Gärtnerplatz

Extra chorus of the Staatstheaters am Gärtnerplatz

Translator

Dramaturge (+3)

Susanne Felicitas Wolf

Extras

Extras of the Staatstheater am Gärtnerplatz

Gärtnerplatztheater

Dancer (+1)

Almudena Alvarez

Dancer

Ariane Cervantes

Eva Sofía Quant

Noelia Quirós

Lighting designer

Michael Heidinger

Choreographer (+1)

Montserrat Suárez

Baritone (+4)

Ludwig Mittelhammer

Morales

David Spanhel

Lillas Pastia

Bass-baritone (+4)

Timos Sirlantzis

Escamillo

Soprano (+3)

Ana Maria Labin

Michaela

Mezzo-soprano (+4)

Sophie Rennert

Carmen

Tenor (+2)

Lucian Krasznec

Don José

Bass (+5)

Holger Ohlmann

Zuniga

Soprano (+2)

Mária Celeng

Bass (+1)

Lukas Enoch Lemcke

Alex Tsilogiannis

Anna-Katharina Tonauer

Baritone (+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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