Roman Payer / Рецензии

The Landestheater Innsbruck tried this recipe in the opening premiere of the new season "Der Freischütz" by the same. Good spirits are currently needed in the hard corona times in the cultural sector. Director Johann Reitmeierhimself mixes the ingredients in a spicy way. He reaches into his bag of tricks and combines light effects, video installations and props with a dash of Masonic symbols. The evening will be rich in images, colorful and pleasingly bright. Luminous targets rotate or deer hang from the ceiling. The men's choir aims many rifle barrels at Agathe and Max, a large stuffed eagle is celebrated, the father's image is overpowering. Thomas Dörfler delivers a modern-looking stage design that can be easily changed by light. A large wooden floor, a few wooden boards that serve as walls. The Wolfsschlucht seems alienated, as a cube rises out of nothing. The mysterious free balls are cast in a baptismal font. Susanne Langbein manages to slip into the role of Agathe in a sympathetically convincing manner. With her strong, pathetically colored soprano, she effortlessly reaches the heights, but also remains full-bodied in the middle register. Jardena Flückinger portrays her relative and diligent, caring friend Ännchen with great acting talent. Her soprano voice sounds youthfully light, but more balanced in some places too small. Andreas Hermann puts a lot of pathos into the role of the hapless Max, letting his lyrical tenor flourish again and again in the top notes and legati, but the voice does not remain stable and loses color in the lower registers. Andreas Mattersbergersucceeds in his opponent Kaspar a strong drawing of the person. Vocally, too, he demonstrates his powerful bass and lets the depths sound demonic. The Icelander Unnsteinn Arnason also succeeds in this . With his tall stature he causes a stir, with his powerful voice he gives the good the victorious power and dissolves grief into redemption.

Carl Maria von Weber's romantic opera "Der Freischütz" with unknown additions told in an acclaimed new production at the Tiroler Landestheater. Innsbruck – “Hunting is an ancient craft. And as controversial as it may be, it is undisputed that we hunters follow an instinct that is archaic, irrational and subconscious.” This is how the editorial for the German hunter’s magazine from June 2019 begins, before Waidmannsheil is wished for at the end Guild, and the Innsbruck "Freischütz" team of the theater guild has its production just as well thought out with critical seriousness. The result is a convincing production on a contemporary basis with historical references, with a rarity due to the recitatives by Hector Berlioz and with psychological logic, which suggests the story with Carl Maria von Weber's wonderful music to the audience without any unanswered questions. With a dark bass-baritone and the aura of the humiliated darkling, Andreas Mattersberger shows Kaspar's demonry, while Andrea De Majo has the creeping, creeping quality of imagined evil. Imposing Unnsteinn Árnason's hermit. The smaller roles with Alec Avedissian, Joachim Seipp, Ana Akhmeteli, Bernadette Müller, Renate Fankhauser and Dagmara Kołodziej-Gorczyczyn´ska are also ideally cast.

Saisonpremiere der romantischen Zauberoper "Oberon" von Carl Maria von Weber

Rein vokal war Shahar Lavi als Fatima die Beste im Ensemble. Die schöne, sicher und weich geführte Mezzo-Stimme ließ aufhorchen, und man wird diese Sängerin im Auge behalten müssen.