Admin

Staatstheater am Gärtnerplatz

Dirigent

Dirigent (+1)

Rubén Dubrovsky

Regisseur

Regisseur (+4)

Herbert Föttinger

Choreograaf

Choreograaf (+2)

Karl Alfred Schreiner

Set designer

Set designer (+2)

Walter Vogelweider

Kostuum ontwerper

Alfred Mayerhofer

Dramaturg

Dramaturg (+2)

Fedora Wesseler

Karin Bohnert

Tenor (+1)

Jacob Romero Kressin

Le Remendado

Bariton (+1)

Jeremy Boulton

Le Dancaïro

Sopraan (+1)

Mina Yu

Frasquita

Mezzosopraan (+2)

Anna Tetruashvili

Mercédes

Tenor (+4)

Frank Berg

Don Casares

Orchestra

Orchester des Staatstheaters am Gärtnerplatz

Chorus

Chor des Staatstheaters am Gärtnerplatz

Extrachor des Staatstheaters am Gärtnerplatz

Vertaler

Dramaturg (+3)

Susanne Felicitas Wolf

Extras

Extras of the Staatstheater am Gärtnerplatz

Danser (+1)

Almudena Alvarez

Dancer

Ariane Cervantes

Eva Sofía Quant

Noelia Quirós

Licht ontwerper

Michael Heidinger

Choreograaf (+1)

Montserrat Suárez

Bariton (+4)

Ludwig Mittelhammer

Moralés

David Spanhel

Lillas Pastia

Bas-bariton (+4)

Timos Sirlantzis

Escamillo

Sopraan (+3)

Ana Maria Labin

Micäela

Mezzosopraan (+4)

Sophie Rennert

Carmen

Tenor (+2)

Lucian Krasznec

Don José

Bas (+5)

Holger Ohlmann

Zuniga

Sopraan (+2)

Mária Celeng

Bas (+1)

Lukas Enoch Lemcke

Alex Tsilogiannis

Anna-Katharina Tonauer

Bariton (+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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