Organization

Singer

Bass

Jin Seok Lee

Banquo

Soprano

Roxana Herrera Díaz

Lady Macbeth

Tenor

Roberto Gionfriddo

Macduff

Junbum Lee

Malcolm

Conductor

Ektoras Tartanis

Stage director

Andriy Zholdak

Lighting designer

Set designer

Daniel Zholdak

Video designer

Costume designer

Simon Machabeli

Chorus master

Norbert Kleinschmidt

Dramaturge

Tatjana Beyer

Baritone

Juan Orozco

Macbeth

Mezzo-soprano

Janina Staub

Lady-in-waiting

Lorenz Kauffer

Doctor

Pascal Hufschmid

Assassin

Stavros-Christos Nikolaou

Harold

Jae Seung Yu

A Servant of Macbeth

Anja Steinert

Third Apparition

Margarete Nüßlein

Second Apparition

James Turcotte

First Apparition

Theater Freiburg

Others

Extrachor des Theater Freiburg

Opernchor des Theater Freiburg

Orchestra

Philharmonisches Orchester Freiburg

Extras of the Theater Freiburg

Freiburg

Germany

Großes Haus

Public

Approved

"The murder continues" - what reads like the oneliner for a contemporary Netflix series, would also do well as a subtitle for Shakespeare's MACBETH. This is not surprising, as it is William Shakespeare who continues to set the bar in the merciless, violent and greedy disputes over claims to property and power. Giuseppe Verdi already knew that when he decided to put what he considered to be the greatest poet of all time to music for the first time. A risk - and Verdi was aware of the magnitude of his undertaking when he wrote to his librettist: “This tragedy is one of the greatest human creations! If we can't do anything great, we at least try to do something extraordinary. ”Verdi has achieved great things: His musical royal couple braces themselves
desperately against physical and psychological decomposition - to no avail. Macbeth, the regicide, cannot find a quiet minute after the act and the lady, who is the driving force behind the supposedly more robust psyche, succumbs to the severity of the common offenses. Verdi's melodic wealth spans from brutal to delirious - his only point of reference: the will-o'-the-wisps of the scenic moment. The tones of the voices and the colors of the night are extraordinary. Taken together, they make up the specific tinta musicale of this opera. The Ukrainian director Andriy Zholdak is also looking for the extraordinary, who brings exciting music theater evenings to the theater landscape across Europe. With him, the star director comes back to the Freiburg Theater, who already had the oppressively intense last season
STABAT MATER brought Pergolesis to the stage with great success. After working in Lyon and St. Petersburg, he is now devoting himself verve to the Verdi setting by finding scenic equivalents for the musical unrest images. However, he cannot stop the murder of the Lord and Lady either. Your behavior has become compulsive.

And so it goes on and on. Only the night stands still - and refuses to wake up from the
anguish of hell.

English

Uznanie za predstavenie (Obsadenie & Tím )

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