Name: Der Freischütz, op. 77
Start: 2015-05-01T00:00:00.000Z
End: 2015-05-31T00:00:00.000Z
Location: Semperoper

Organization

Bariton

Adrian Eröd

Ottokar

Bass

Albert Dohmen

Kuno

Sopran

Sara Jakubiak

Agathe

Christina Landshamer

Ännchen

Georg Zeppenfeld

Kasper

Tenor

Michael König

Andreas Bauer Kanabas

Ein Eremit

Sebastian Wartig

Kilian

Dirigat

Christian Thielemann

Regie

Axel Köhler

Bühnenbild

Arne Walther

Kostümbild

Katharina Weissenborn

Dramaturgie

Werner Hintze

Semperoper Dresden

Orchestra

Staatskapelle Dresden

Deutsch

Der Freischütz, op. 77

Dresden

Deutschland

Semperoper

At the rostrum of the Staatskapelle, the conductor made an example: anyone who takes German Romanticism seriously will not fail because of it. Director Axel Köhler kept up.

05/03/2015 by Wilhelm Sinkovicz (Die Presse)
German romance is no longer possible. Or so it seems. The burdens of recent history weigh like a curse on the art of an entire epoch. The guild of directors in their arrogance no longer gives a clear view of the play because of all the comments and footnotes. The most recent new production of the Dresden Semperoper is therefore laudable: director Axel Köhler and conductor Christian Thielemann did not care about the everything relativizing etiquette of recent interpretation history, but took the libretto and score literally: A serious, musically even great implementation is there succeeded. It was equivalent to saving the honor of one of the most important German music theater works.

Sensitive listeners should have realized this from the opening bars of the overture. The Staatskapelle and Thielemann realize the art of interpretation at the very highest level; on the rope, without a net, so to speak. You eavesdrop together on what is between the lines, you fathom what sounds mean, you don't put phrase next to phrase neatly and neatly. One practices the long-forgotten art of dynamic and - above all - tempo-related contrast effects.

Der Freischütz Weber

Public

Genehmigt

Fotos