Sara-Maria Saalmann / Anmeldelser

(nmz) - Of course, he also has a "Flying Dutchman" staged by his predecessor and then a "La Boheme" on the agenda, to which he has seduced the painter prince Markus Lüpertz as director and outfitter. In addition, Jens Neundorff von Enzberg, who was born in Ilmenau, wants to establish a focus on baroque explorations of works that were created in the region but have been forgotten after his change from the directorship in Regensburg to that of the Staatstheater der Thüringer Theaterresidenz Meiningen in Eisenach. In this respect, his season opening with the Händeloper "Amadigi di Gaula" even fits programmatically. But it also suits the health department. Because in every director's office, the virus sits at the table until further notice, i.e. the office fighting it. In such times, an opera with only four protagonists without a choir like this early one by Handel from 1715 is a dream. (For a visitor from the outside, various election posters in Meiningen, with the far-right politicians of the CDU and AfD, however, closer to a nightmare.) Of the 726 seats in the splendour of the theatre duke George II. 500 seats may currently be occupied. At the moment, 3G plus mask also applies during the performance. 2G without a mask would certainly be better received by many visitors. At the end of Handel's sorceress opera "Amadigi di Gaula", half of the staff is dead. That's quite a high rate for an opera seria by this Baroque master. But since there are only four protagonists in total, the carnage is limited. The one dead man is a prince, but he is in love with his friend's lover. Therefore, he first loses his friend (Amadigi) and then becomes the collateral damage of a rather messy relationship box, which is fatally hit in the jealousy duel. Almerija Delic is allowed to return from the realm of the dead in the trouser role of this Dardano and announce as Deus ex machina, where the emergency exit from the intrigue barn towards the happy ending can be found. The second dead woman is the sorceress Melissa (with a fabulous bite: Monika Reinhard). She commits a theatrical suicide on the open stage in the double sense of the word, so not only gives up her stubborn fight for the coveted Amadigi, which is conducted with all the means available to a sorceress, but also herself. Thus, the way to a common future of Amadigi (the baroque scene-compatible counter Rafal Tomkiewicz) and Oriana (with sensitively flexible throat Sara-Maria Saalmann) is finally clear. The fact that the new Director of Meiningen has chosen a Händeloper for the prelude after an annoying forced break is courageous in view of the now well-developed, sometimes highly specialized Baroque scene. But what was offered was not only a firework of Handel's aria art. Premiered in London in 1715, the whole thing is a prime example of the then dominant Italian opera. For this reason alone, the Italian Attilio Cremonesi is the right person at the podium of the court orchestra for her excursion into the baroque opera heritage, which is not too often visited. Tight, pointed and yet light – what the musicians offered provided exactly the tailwind to elevate the protagonists in their alternating bath of emotions into an aria furor, which succeeded better and better in the course of the evening. Scenically, director and outfitter Hinrich Horstkotte opted for a play with baroque theatre. There was a baroque brochure stage on stage, whose theatrical means are presented in detail, plus a more than just hinted opulence in the costumes for the protagonists (Melissa gets away best) and for the half dozen (fury) assistants that the sorceress conjures up again and again in various designs when she tries to ensnare Amadigi or to get his loved one out of the way. For this purpose, the entire repertoire of a baroque stage including its fire and water imitations is unleashed. Horstkotte – as is nowadays the case for a critical contemporary, who also trusts Master Handel with a penchant for the double bottom – does not dare to cross the path of the lieto fine. His Oriana grabs Melissa Dagger as a precaution. Apparently, she already knew at that time that there is still a certain Alcina, who also has a weakness for beautiful heroes....

A magic opera opens the artistic director Jens Neundorff von Enzberg at the Staatstheater Meiningen: Handel's "Amadigi di Gaula" from 1715. The focus is on the – unsuccessfully – demonic witch Melissa, who fights for the love of the knight Amadigi with all demonic means. In the end, she and the Amadigi's rival, Dardano, fall by the wayside; after his death, he may at least from hell still beg the gods for compassion for the two lovers Oriana and Amadigi. But the expected happy ending of the couple is ironically questioned by director and outfitter Hinrich Horstkotte. Because at the wedding, the bride already hides the dagger behind her robe. The external action, however, is only a pretext to show the conflicting feelings as quasi exuberant theater effects in the sense of the Baroque period. The human emotions can be heard right down to the most sensitive movements in Handel's music, concentrated and concisely emphasized by Attilio Cremonesi on the harpsichord and podium of the Meininger Hofkapelle. Today's audience can experience this in the varied personal direction. The fact that the external action is illusion, play, is already clear from the overture: The two "heroes" sit behind the actual stage in an auditorium, backdrops can be seen from behind. After that, the action for the audience in the opera house begins: Melissa appears in ever new disguises, sometimes in baroque pompous robes, sometimes devilishly black, sometimes mysterious dark red glittering, sometimes with a huge rock train over the red dress, sometimes assisted by white ghost women, sometimes with black punk furies, and also the performance locations change often. There are images of nature for the night, cloud backdrops for the day, waves or flames artificially in motion, a fire gate through which Amadigi can walk as a true lover, fake columns, ever higher steps, irritating mirror walls, room escapes, a dragon cave and finally a sea with a cardboard ship on top, which should lead the couple into a happy future – or not? Handel's music, with all facets of sadness, drama, sensitivity, joy, jubilation, leaves this open in a lieto fine in G minor. The sorceress Melissa, embodied by Monika Reinhard in an extremely agile manner and sung with a lot of inner anger, passion, poignant lamentation and furious outbursts, have entered the realm of the dead by suicide, and in a duel the warlike Prince Dardano, Almerija Delic, impressive by the powerful, energetic voice that masters even the most delicate coloraturas. Rafal Tomkiewicz puts the titular hero Amadigi on stage with a well-founded countertenor and waving blond hair, and so he gets "his" Oriana, a widely passive girlish beauty, Sara-Maria Saalmann, who draws a lonely, stubborn lover with finely nuanced, bright soprano.

The conductor Juri Lebidev understands singers and instruments with a sense of justice obsessed with detail. His almost telepathic presence becomes an indispensable prerequisite for the trust between the stage and the pit, which made this blissful operatic event possible in the first place. The premiere and the performance the following afternoon were enthusiastically celebrated by those who had come and subscribers with unusual persistence.In "La clemenza di Scipione" all the singers have a parade number or at least a better stage coup thanks to Wilgenbus. Sara-Maria Saalmann asked for kind indulgence before the second performance. Unfounded. In addition to all the other requirements, she mastered her great aria with solo instruments in concert with bravura. In terms of structure, melos and ornamentation, this huge piece is amazingly similar to Konstanze's dreaded martyrdom aria from "Die Entführung aus dem Seraglio". Alexandra Scherrmann, as Arsinda's sister Idalba, proceeds even more confidently with coloraturas of emphatic lightness and physical frivolity, even when the powerful Marzius swings the raw leg of meat. Johannes Mooser finds the right vocal compromise between hero and poltergeist.With a tenor that is minimally throaty in the depths and clearer and clearer towards the top, Martin Lechleitner recommends himself as a Scipio who appreciates love more than war for larger tasks in the Mozart repertoire. It is astonishing this time how Onur Abaci as Luceius lets all difficulties of the soprano castrato part be forgotten. In the large duet, Saalmann's soft entrances merge with Abaci's virile and at the same time flexible, nuanced intonation in such a way that the two voices can hardly be distinguished. A deluxe plea for Johann Christian Bach! Hopefully this is only the prelude to further discoveries of operas in Eisenach.

One has to thank three initiators for the first own opera production in the Landestheater Eisenach. Jens Neundorff von Enzberg, the new director of the Meiningen State Theater, has more plans for the beautiful Bürgertheater in Rot und Weiß than guest performances by Meininger productions, as has been the case since the last renovation ten years ago. Director Dominik Wilgenbus brought him to Johann Christian Bach in his search for music theater works connected with the region. The Thuringia Philharmonic Gotha-Eisenach, not particularly familiar with early music, did an excellent job in “La clemenza di Scipione”. The premiere weekend became a great moment and a festival of voices.

"GLI AMORI DI APOLLO E DAFNE" by CAVALLI ~~~ S.Ender derStandard[ translated by german]: "The première on Monday evening at the Courtyard of the Theology Department is a rare operatic pleasure: a pleasure to be heard, a pleasure to be seen. That then also lead to dreaming! And with the evocation of the power of dreams begins the prologue, before the nymph Dafne, who spurns her lover, drifts on her emotions. Director Alessandra Premoli finds expressive images that are intensified by the shadow theater "alTREtracce" and add new dimensions - for example when the house façade is being used. This opens up a dimension of the magical, as poetry flares up, amplified by the music. The costumes by Mariana Fracasso are a dream in white, Alessandra Premoli tells in simple, poetic images the story of a young woman who was hurt and traumatized by male desire. Enthusiasm for all this." ~~~ T. Molke. Online Music Magazine [translated by german]: "To emphasize the aspect of the dream, Alessandra Premoli starts in her presentation in a hospital room or perhaps a sleep laboratory. On a bed lies a woman, Dafne, who receives several injections from an obsessively chewing gum, Amore, while a doctor, who later, among other things, slips into the figure of the scholar Alfesebio, takes notes and talks with the manager of the hospital, the later as goddess Venus (Venere) and acting as Dafne's confidant Filena exchanges. With a white mask, Andrea Pellegrini appears as Sonno and summons his three servants, who are supposed to be mythologically the three sons of the sleeping god.[…] As figures, three shadow theater players of the shadow theater alTREtacce perform, forming an important part of the staging. Time and again, as characters on stage and actors behind the stage, they create wonderful visual effects with impressive shadows that immerse the viewer in a dream world. While it is still relatively bright in the courtyard due to the incident daylight, they appear with masks on the stage and let the awakening Dafne dive into a huge white waving sheet or surround the god Apollo with small lamps with a kind of halo. Musically, this early work Cavallis is a gem. Although the story does not prove to be suitable for the repertoire with the incoherently contiguous scenes, it is definitely worth seeing in this imaginative staging by Alessandra Premoli."~~~ R. Kager, Frankfurter Allgemeine [translated by german]: "With deliberately economical means, the director Alessandra Premoli tells the story of the unfortunate love of Phoebus Apollo, taken from librettist Giovanni Francesco Busenello from the "Metamorphoses" of Ovid, to the nymph Daphne. […] The hospital scenario also corresponds to the historicizing, yet contemporary costumes designed by Mariana Fracasso: All are white, with the exception of Apoll's black jacket and Cupid's equally black wings. This pallor gives the scene a surreal atmosphere even without opulent stage design. Following the principles of Jerzy Grotowski's "poor theater", Premoli focuses on every small movement, every fine movement of young singers, mostly finalists and winners of the annual Cesti singing competition of the Innsbruck Festival, which in some cases takes on some of the twenty or so roles.[…] When, at the end of Apoll's touching lament, laurel branches are placed on the front edge of the stage and the three masked people shine with simple bulbs on them to transform the back of the courtyard into the silhouette of a tree, it suddenly becomes cold despite the heat: only as a shadow Daphne present, watching himself in the deathbed. Blackout."~~~ A. Neilson, Operawire: "The director for this production was Alessandra Premoli, who used the prologue as a source for her interpretation of the work. As dawn is about to break, the god Sonno bids his servants to fill mankind’s minds with dreams, infusing them with symbols and visions, and turning shadows into beasts. It is the time when reality becomes blurred and is in a state of flux. Premoli’s characters, therefore, tread the narrow path between sleep and wakefulness. Shadows in the form of projections against a white-clothed background, and shadowy figures, who double the main characters, lead, terrorize or reflect their semi-conscious states. The drama is set in a hospital of sorts. Dafne lies in a bed in a deep sleep, or coma, while the drama begins to unfold around her. As she becomes partially conscious, so reality continues in a dream-like way, happiness giving way to panic, with bizarre happenings, such as her transformation into a laurel tree, with shadowy visions and apparitions everywhere. It was an excellent idea, that bonded itself to the text seamlessly, and produced an engaging presentation.The costumes, designed by Mariana Fracasso, were simple, but effective and mainly in white, from an indeterminate period, contrasting and complementing nicely the sometimes dark, sometimes bright ambience of the sets. Apollo stood out, having more colourful, more clearly defined attire, giving him the appearance of a pop star, of someone accustomed to adoration. " ~~~ J-F. Lattarico , classiquenews [translated by french]: "A “young” production of high level and a coming back to the 17th century’s repertoire, that since a long time is the trademark of this tyrolean festival. Cavalli comes out with the honour of a almost model success by the choice of a founding opera. The sobriety of the sets, some curtains faintly arranged, the shadow plays and the doubling of certain roles by the actors, remember the importance of the mirror playing this inaugural opera under the metamorphosis’ baroque mark par excellence , orchestrated by Alessandra Premoli, brightened up by the magnificent costumes of Mariana Fracasso, were one of the elements for the success of this juvenile production, for nothing inferior to the “adult” productions." ~~~ Gilberto Mion, teatro (.it), [translated by italian] "We are in a large patio, but with little space for the stage, and the orchestra relegated to a corner. Nonetheless, the lively staging of Alessandra Premoli is dissolved in rhythm, and produces seductive effects. Virtually devoid of scenery, it relies however on the fascination of a back theater of shadows created by the Italian team of alTREtracce. Guessed the simple costumes of Marianna Fracasso." ~~~ V. Mascherpa, Operaclick [translated by italian]: "The gestures of the interpreters are very appreciable due to the direction of Alessandra Premoli, with the help of the elegant shadow projections of the alTREtracce group and of the costumes designed by Mariana Fracasso. The gestures entrusted by Premoli to the interpreters created a series of effective frameworks, that highlighted the situations represented by music and libretto with nonchalant adherence and did not in any way feel the absence of a proper scenographic installation, enough architecture of the courtyard to create the appropriate suggestions of space, with the help of a skillful and not prevaricating lighting." ~~~ Giulia Clai, sipario (.it) [translated by italian] "The direction of Alessandra Premoli, with a series of effective pictures, did not make too much the lack of a spectacular scenographic system, and with the help of skilful play of light, designed by the company aLTREtracce, has created engaging suggestions." ~~~

"... Das junge Sängerensemble begeisterte durch stimmliche Brillanz und schauspielerische Leistung.... ....mit subtiler Leidenschaft, die das Publikum von Beginn an in seinen Bann zog. Allen voran die junge Sopranistin Sara-Maria Saalmann, deren weich timbrierte Stimme neben ihrer attraktiven Erscheinung der DAFNE das richtige Profil gab..." // "... The young ensemble fascinated with vocal brilliance and acting skills.... subtile passion, that directly casts a spell over the public... Above all, young soprano Sara-Maria-Saalmann, giving DAFNE he right profile with her soft timbered voice and her attractive appearance (Online Merker) ------------------------------------------------------------------------------------------------------------------------ "... Da ist zunächst Sara-Maria Saalmann als DAFNE zu nennen, die stimmlich mit ihrem strahlend leuchtenden Sopran und optisch nicht nur den Gott Apollo verzaubert. Mit großer Intensität und gestaltet sie darstellerisch und stimmlich glaubhaft den Wandel von der selbstbewussten jungen Frau, die sich nicht der Liebe unterwerfen will und den sie umwerbenden Gott brüsk zurückweist, hin zu einem verzweifelten Mädchen, das die einzige Rettung in der Verwandlung in einen Baum sieht..." // "... First of all, Sara-Maria Saalmann as DAFNE. With her bright soprano and her attractive appearance, she not only enchants God Apollo.... In singing and acting, she creates her part of the self-confident young woman, who.... to the desperate girl, who .... very intense and credible..." (OMM) ------------------------------------------------------------------------------------------------------------------------ "... A strong Apollo and Dafne cast, led by scene-stealing Sara-Maria Saalmann! Without doubt the outstanding performance of the evening came from the soprano Sara-Maria Saalmann, playing the role of DAFNE. Dressed throughout the evening in a white hospital gown, Dafne slips and slides between ehr waking and sleeping realities, as she engages with Apollo’s attentions, and those of other characters .... From her first line “O più d’ogni ricchezza” the beautiful quality of her voice was apparent; lines were smoothly and joyfully enunciated, full of subtle embellishments. It is a long and demanding scene in which Saalmann's voice is required to sparkle, and indulge itself in a colorful display of vocal gymnastics – and she did not disappoint. She danced nimbly across the score with grace and flexibility, raced nimbly up and down the scales in scintillating coloratura displays, which always erred on the side of charm; her phrasing was delightful on the ear, characterized by clarity, nuanced variations in tone and dynamics, and above all, by the wonderful flexibility of her voice. As the drama progressed, so the dark side of her semi-conscious dream-state started to impose itself, and her anxiety and fears began to become more pronounced. Shadows wrapped themselves around her, and Apollo’s attentions became oppressive. Sallmann captured Dafne’s changing emotional state wonderfully, infecting the vocal line with a greater degree of agitation and disquiet in a fine expressive display..." (Operawire) ------------------------------------------------------------------------------------------------------------------------ "... Sara-Maria Saalmann... DAFNE... Die Mischung aus Unschuld und Ungebändigtheit, mit der die gebürtige Spanierin die Nymphe gibt, ist stimmig; berührend auch ihr Sopran...." // "... Sara-Maria Saalmann as DAFNE.... She plays her part credible with a mixture of innocence and unrestraint... also touching her soprano..." (Der Standard) ------------------------------------------------------------------------------------------------------------------------ "... Sara-Maria Saalmann als ebenso attraktiv aussehende wie geschmeidig singende DAFNE gelingt es wiederum, die heiklen Übergänge vom Liebestraum zur Krankenhauswirklichkeit gekonnt zu vermitteln...." // "... Sara-Maria Saalmann was an attractive looking and smooth singing DAFNE, who perfectly manages to make the sensitive changes between the love-dream and the reality of the hospital credible..." (FAZ) ------------------------------------------------------------------------------------------------------------------------ "... Sara-Maria Saalmann begeisterte als DAFNE..." // "... Sara-Maria Saalmann impressed as DAFNE..." (Der Opernfreund) ------------------------------------------------------------------------------------------------------------------------ ".... aber Sara-Maria Saalmann setzt DAFNES Liebe zum Leben und die Abscheu vor Apollos Drängen in souverän zarte, verletzliche Phrasen um - und spielt die verschiedenen Phasen der Erkenntnis des eigenen Todes wunderbar berührend und poetisch...." // "... but Sara-Maria Saalmann manages to put DAFNE's love for life and the disgust against Apollo's push in sovereign soft, fragile phrases, and plays the different phases of her finding and he own death wonderful touching and poetical..." (Die Presse) ------------------------------------------------------------------------------------------------------------------------ "... Ein Highlight zum Schluß der Innsbrucker Festwochen: Cavalli's "Gli amori d'Apollo & di Dafne... Ausgezeichnete Stimmen.... allen voran Sara-Maria Saalmann... Musikalisch differenziert, temperamentvoll...." // "... A highlight at the end of the Innsbrucker Festwochen: Cavalli's <Gli amori d'Apollo & di Dafne>.... wonderful voice, in first line Sara-Maria Saalmann as Dafne...." musically differentiated and vivacious..." (Deutschlandfunk Kultur) ------------------------------------------------------------------------------------------------------------------------ "... Unter den 25 hervorragenden jungen Solisten ragen vor allem Sara-Maria Saalmann als DAFNE und .... heraus...." // "... In the group of 25 great young soloists, Sara-Maria Saalmann as DAFNE and... stood out..." (Dieterscholz. de) ------------------------------------------------------------------------------------------------------------------------ ".... Auf der Bühne ein großes, junges Ensemble, mit Sara-Maria Saalmann, deren klares Timbre der DAFNE gut steht...." // "... On stage a huge, young ensemble with Sara-Maria Saalmann, whose clear timbre suits DAFNE very well..." (Tiroler Tageszeitung)