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Staatstheater am Gärtnerplatz

Dyrygent

Dyrygent (+1)

Rubén Dubrovsky

Reżyseria

Reżyseria (+4)

Herbert Föttinger

Choreograf

Choreograf (+2)

Karl Alfred Schreiner

Scenografia

Scenografia (+2)

Walter Vogelweider

Kostiumy

Alfred Mayerhofer

Dramaturgia

Dramaturgia (+2)

Fedora Wesseler

Karin Bohnert

Tenor (+1)

Jacob Romero Kressin

Remendado

Baryton (+1)

Jeremy Boulton

Dancairo

Sopran (+1)

Mina Yu

Frasquita

Mezzosopran (+2)

Anna Tetruashvili

Mercedes

Tenor (+4)

Frank Berg

Don Casares

Orchestra

Orchester des Staatstheaters am Gärtnerplatz

Chorus

Chor des Staatstheaters am Gärtnerplatz

Extrachor des Staatstheaters am Gärtnerplatz

Tłumaczenie

Dramaturgia (+3)

Susanne Felicitas Wolf

Extras

Extras of the Staatstheater am Gärtnerplatz

Gärtnerplatztheater

Taniec (+1)

Almudena Alvarez

Dancer

Ariane Cervantes

Eva Sofía Quant

Noelia Quirós

Reżyseria światła

Michael Heidinger

Choreograf (+1)

Montserrat Suárez

Baryton (+4)

Ludwig Mittelhammer

Morales

David Spanhel

Lillas Pastia

Bas - baryton (+4)

Timos Sirlantzis

Escamillo

Sopran (+3)

Ana Maria Labin

Micaëla

Mezzosopran (+4)

Sophie Rennert

Carmen

Tenor (+2)

Lucian Krasznec

Don José

Bas (+5)

Holger Ohlmann

Zuniga

Sopran (+2)

Mária Celeng

Bas (+1)

Lukas Enoch Lemcke

Alex Tsilogiannis

Anna-Katharina Tonauer

Baryton (+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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